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EXCELLENT 

Hiftory  of  the  Mer^ 

chant  of  Venice, 

With  the  extreme  crxxtXvfoiShylocf^eLj 
the  lew  towards  the  faide  Merchant,m  cuc- 

ttrig  a  iuB pound  of  Insflejh.  Jnd  the  dtatni/fg 
oiPortUy  by  the  choyfe  of 

Wnttenby  W.  Shakespeare. 


Printed  by  f .  "^berts.l  6oo* 


Pacsimile  of  Title-Page,  First  Quarto  (Roberts  Quarto) 


THENEWIiUDSON 
SHAKESPEARE 

THEMERCHANT 
OF  VENICE 

HENRYNORMAN 
HUDSON,LLD'l^ 

EDITED  AND  REVISED  BY 

EBENEZER  CHARITON 
BLA.CK  LLD-  (GLASGOW) 
writt  THE  coopERAarroN  op 
ANTDREW  JACKS  ON 
GEORGE  inrDOMKRSD 


GINN  AND  COMPANY 

BOSTON  NEWTORK  CHICAGO  LONDON 
ATLANTA.  DALLAS  00UJMBU5  SANPHANCISO} 


Entered  at  Stationers'  Hall 


Copyright,  1879 
By  henry  N.  HUDSON 


Copyright,  1906 
By  GINN  and  COMPANY 


all  rights  reserved 

EDUCATION  DEPT. 


gbe  fltftenatum  ^re« 

GINN  AND  COMPANY-  PRO- 
PRIETORS •  BOSTON  •  U.S.A. 


PREFACE 

The  text  of  this  edition  of  The  Merchant  of  Venice  is 
based  upon  a  collation  of  the  Quartos  of  1600  and  the 
seventeenth  century  Folios.  Exclusive  of  changes  in  spell- 
ing, punctuation,  and  stage  directions,  only  five  emenda- 
tions by  eighteenth  century  and  nineteenth  century  editors 
have  been  incorporated  into  the  text ;  and  these,  with  every 
variation  from  the  First  Folio,  are  indicated  in  the  textual 
notes.  The  only  omissions  are  such  passages  as  are  out  of 
place  in  a  school  edition. 

The  spelling  and  the  punctuation  of  the  text  are  mod- 
ern, except  in  the  case  of  verb  terminations  in  -edy  which, 
when  the  e  is  silent,  are  printed  with  the  apostrophe  in 
its  place.  This  is  the  general  usage  in  the  First  Folio. 
Modern  spelling  has  to  a  certain  extent  been  followed  in 
the  text  variants ;  but  the  original  spelling  has  been  re- 
tained wherever  its  peculiarities  have  been  the  basis  for 
important  textual  criticism  and  emendation. 

With  regard  to  the  general  plan  of  this  revision  of 
Hudson's  Shakespeare,  Professor  W.  P.  Trent,  of  Columbia 
University,  has  offered  valuable  suggestions  and  given 
important  advice. 

August  14,  1906 

iii 


CONTENTS 


INTRODUCTION 

Pagb 

I.  Sources vii 

Subplots vii 

Main  Plot x 

II.  Date  of  Composition xi 

III.  Editions xiii 

Quartos xiii 

Folios       xv 

Rowe's  Editions xvi 

IV.  Dramatic  Structure  and  Management  of  Time 

AND  Place xvi 

V.  Versification  and  Diction xviii 

Blank  Verse xviii 

Rhyme .  xix 

Prose xix 

VI.  General  Characteristics xx 

VII.  Outline  of  the  Story xxii 

VIII.  Characters xxiv 

Antonio xxv 

Antonio's  Friends xxvii 

Lorenzo  and  Jessica xxviii 

Launcelot  Gob  bo xxix 

Portia xxx 

ShYLOCK     . XXXV 

IX.  Conclusion xl 

Chronological  Chart  o    « xliv 


vi  CONTENTS 

THE  TEXT 

Pagb 

Act  I 3 

Act  II 32 

Act  III 69 

Act  IV 101 

Act  V 124 

Index  of  Words  and  Phrases 141 


INTRODUCTION 


Note.  In  citations  from  Shakespeare's  plays  and  nondramatic 
poems  the  numbering  has  reference  to  the  Globe  edition,  except  in 
the  case  of  this  play,  where  the  reference  is  to  this  edition. 


I.    SOURCES 

The  Merchant  of  Venice  is  woven  out  of  story- threads  as 
old  and  as  varied  as  human  nature.  Four  distinct  sets  of 
these  story-threads,  two  primary  —  the  Caskets  and  the 
Pound  of  Flesh  (or  the  Bond)  —  and  two  secondary  —  Jes- 
sica's Elopement  and  the  Rings  —  are  in  the  web  of  the 
complete  plot.  They  may  be  regarded  as  subplots,  and  in 
this  summary  of  sources  will  naturally  be  considered  firsts 
and  in  the  order  in  which  they  come  into  the  play. 

The  Subplots 

I .  The  Caskets,  The  device  of  the  caskets,  varied  occa- 
sionally by  the  substitution  of  vats,  or  even  of  cakes  and  of 
pasties,  for  chests  and  coffers,  is  found  in  many  languages 
and  is  probably  of  oriental  origin.  The  underlying  philoso- 
phy of  choice  as  the  foundation  of  moral  activity  may  be 
read  in  the  Genesis  narrative  of  the  fall  of  man  and  in  the 
mythologies  of  all  Indo-European  peoples.  In  mediaeval 
literature  the  caskets-form  of  the  story  takes  definite  shape 
in  the  Greek  romance,  Barlaam  and  Josaphaty  by  Joannes 


viii        THE  NEW  HUDSON  SHAKESPEARE 

Damascenus  {circa  800)  ^ ;  and  through  a  Latin  translation 
in  the  Speculum  Historiale  of  Vincent  de  Beauvais  it  made 
its  way  into  The  Golden  Legend  of  Jacobus  de  Voragine. 
In  Boccaccio's  Decame?'on  and  in  Gower's  Confessio  Aman- 
lis  are  interesting  variants.  The  popular  collection  of  stories 
in  Latin  called  the  Gesta  Ro?na?ioru7n,  compiled  about  the 
year  1300,  contains  the  version  most  similar  to  that  in  The 
Merchant  of  Venice ;  and  it  is  significant  that  this  version 
is  found  in  the  English  translation  of  the  Gesta  printed  by 
Wynkin  de  Worde  —  a  translation  so  popular  in  Elizabethan 
England  as  to  be  issued  six  times  between  1577  and  1601 
under  the  title  Records  of  Ancyent  Historyes, 

2.  The  Pound  of  Flesh  {or  the  Bond),  In  the  Afahabha- 
rata,  in  Aryan  myth  and  folk-tale  generally,  and  in  Egyptian 
and  oriental  literatures,  may  be  read  the  germ-ideas  of  the 
bond  story.  Like  that  of  the  caskets,  it  has  its  foundations 
deep  in  man's  moral  nature.  In  essence,  it  is  the  lex  talionis 
in  its  relation  to  the  Christian  principle  of  mercy  and  for- 
giveness. It  is  significant  that  the  first  specific  reference  in 
English  literature  to  the  flesh-without-blood  incident  is  in 
the  Cursor  Mufidi  {circa  1320),  a  Northumbrian  religious 
poem  which  curiously  anticipates  later  fourteenth  century 
miracle- play  cycles.  In  this  poem  a  Jew  guides  the  Empress 
Helena  to  the  place  where  the  true  cross  is  concealed,  and 
reveals  the  secret  to  save  himself  from  punishment  for  hav- 
ing tried  to  enforce  his  terrible  flesh  compact  with  a  Chris- 
tian. The  mediaeval  conception  of  Christ's  sacrifice,  and 
the  popular  interpretation  of  the  terrible  Roman  law  of  the 

1  Translations,  transcripts,  or  summaries  of  all  the  more  important 
source-versions  will  be  found  in  the  Appendix  of  Furness's  A  New 
Variorum  Edition  —  The  Merchant  of  Venice, 


INTRODUCTION  ix 

Twelve  Tables  which  gave  a  creditor  full  power  over  the 
person  of  a  debtor,  are  responsible  for  the  dozen  and  more 
versions  of  the  bond  story  (with,  or  without,  a  Jew ;  some- 
times with  The  Merchant  of  Venice  positions  of  Jew  and 
Christian  reversed)  which  were  current  in  Europe  in  short 
story  collections —  Gesta  Romanorum,  JDoIopathos,  etc. — 
between  1400  and  1600.  In  one  version  the  compact  turns 
upon  the  right  to  gouge  out  one  of  the  creditor's  eyes  —  a 
punishment  inflicted  oftener  upon  Jews  than  by  them,  and 
one  that  may  be  grimly  suggested  in  The  Merchant  of 
Venice^  II,  v,  42.  Important  among  these  many  versions  is 
the  ninety-fifth  "declamation"  in  The  Orator .  . .  Written  in 
French  by  Alexander  Silvayn  and  Englished  by  Z.  P.^  Lon- 
don .  .  .  I3g6 :  "Of  a  Jew  who  would  for  his  debt  have  a 
pound  of  the  flesh  of  a  Christian."  Shylock's  speeches  in 
the  trial  scene  strongly  resemble  the  arguments  of  the  Jew 
in  this  *  declamation.'  Important,  too,  is  the  version  of 
the  story  in  the  ballad,  Gernutus  the  Jew,  preserved  in  the 
Pepysian  Library,  Magdalene  College,  Cambridge,  and 
printed  somewhat  carelessly  in  Percy's  Reliques:  "A  new 
Song,  shewing  the  crueltie  of  Gernutus,  a  Jewe,  who  lend- 
ing to  a  merchant  an  hundred  crownes,  would  have  a  pound 
of  his  fleshe,  because  he  could  not  pay  him  at  the  time 
appointed.  ..."  There  is  uncertainty  as  to  the  date  of 
this  ballad,  but  the  weight  of  evidence  is  in  favor  of  its 
antedating  Shakespeare's  play.  Of  all  the  possible  source- 
versions  of  the  bond  story,  the  closest  in  resemblance  to  The 
Merchant  of  Venice  is  in  Ser  Giovanni  Fiorentino's  ^  collec- 
tion of  romances,  II  Fecorone,  written,  as  we  are  quaintly 

^  That  is,  Lazarus  Plot,  a  nom  de  guerre  of  Anthony  Munday. 
2  Probably  an  assumed  name. 


X  THE  NEW  HUDSON  SHAKESPEARE 

told,  three  years  after  the  death  of  Boccaccio.  In  IlPecorone 
is  introduced  a  lady  of  *  Belmonte  ' ;  the  usurer  is  a  Jew  of 
Mestre,  near  Venice ;  and  the  flesh-without-the-blood  argu- 
ment is  used  by  a  woman  disguised  as  a  lawyer. 

3.  Jessica's  Elopement,  This  story  has  been  traced  to 
the  fourteenth  novellino  of  Masuccio  di  Salerno,  which  tells 
how  the  daughter  of  a  rich  miser  of  Naples  stole  her  father's 
jewels  and  eloped  with  her  lover.  But  the  theme  is  com- 
mon to  the  fiction,  prose  and  verse,  of  many  countries. 

4.  The  Rings,   This  episode  is  found  in  //  Pecorone. 


The  Main  Plot 

That  the  ancient  stories  of  the  caskets  and  the  pound  of 
flesh  were  combined  in  a  drama  before  Shakespeare  wrote 
The  Merchant  of  Venice^  is  clear  from  what  Stephen  Gosson 
says  in  The  Schoole  of  Abuse,  pubhshed  in  1579.  He  makes 
distinct  reference  to  a  play,  now  lost,  called  The  JeWy 
"...  representing  the  greedinesse  of  worldly  chusers,  and 
bloody  mindes  of  Usurers.  .  .  .'*  Under  the  date  August 
25,  1594,  Henslowe  in  his  Diary  mentions  as  a  new  play 
the  Venesyon  comodey  (The  Venetian  Comedy)  which  Fleay 
claims  as  a  lost  work  of  Dekker's,  The  Jew  of  Venice,  upon 
which  he  asserts  that  Shakespeare's  play  was  based.  Sidney 
Lee  suggests  that  the  Venesyon  comodey  was  Shakespeare's 
revision  of  some  old  play  made  when  popular  interest  in 
things  Jewish  was  at  fever  heat  over  the  trial  in  February, 
1594,  and  the  execution  in  the  following  June,  of  Queen 
Elizabeth's  Jewish  physician,  Roderigo  Lopez.  It  is  inter- 
esting to  note  that  the  chief  undoer  of  Lopez  was  Antonio 
Perez,   usually  called    Don  Antonio.    "That   a   Christian 


INTRODUCTION  xi 

named  Antonio  should  be  the  cause  of  the  ruin  alike  of  the 
greatest  Jew  in  Elizabethan  England  and  of  the  greatest 
Jew  of  the  Elizabethan  drama,  is  a  curious  confirmation  of 
the  theory  that  Lopez  was  the  begetter  of  Shylock"  —  Lee. 
In  the  play,  The  Three  Ladies  of  London  ^hy  R.  W.  (1584), 
a  Jewish  creditor,  Gerontus  —  evidently  the  same  name  as 
that  of  the  Jew  in  the  ballad  mentioned  above  —  tries  to 
recover  a  loan  of  three  thousand  ducats  for  three  months 
from  a  Christian  debtor,  Mercatore. 

The  influence  of  Marlowe's  The  Jew  of  Malta  makes  itself 
felt  in  general  inspiration  rather  than  in  plan  and  details  of 
plot,  though  Abigail's  attitude  to  her  father,  Barabas,  and  her 
leaving  him  through  love  of  a  Christian,  strongly  suggest  the 
relations  between  Jessica,  Shylock,  and  Lorenzo. 

IL    DATE  OF  COMPOSITION 

The  only  thing  certain  about  the  date  of  composition  of 
The  Merchant  of  Venice  is  that  it  was  written  before  1598. 
In  that  year  we  have  two  independent  references  to  it : 
(i)  in  the  Palladis  Tamia,  Wits  Treasury ;  being  the  Sec- 
ond Part  of  Wits  Commonwealth  of  Francis  Meres ;  and 
(2)  in  The  Stationers*  Registers,  It  is  sixth  in  the  list  of 
twelve  Shakespeare  plays,  and  last  of  the  six  comedies,  men- 
tioned in  the  Palladis  Tamia,  that  famous  terminus  ante 
quern  in  Shakespeare  chronology,  the  largest  bit  of  solid 
rock  amid  the  shifting  sands  of  conjecture  as  to  date  of 
composition.  Under  the  date  July  22,  1598,  James  Roberts 
(the  name  is  spelled  here  and  elsewhere,  Robertes)  had  the 
play  entered  in  The  Stationers'  Registers  under  the  title  "a 
booke  of  the  Marchaunt  of  Venyce  or  otherwise  called  the 


xii  THE   NEW  HUDSON   SHAKESPEARE 

Jewe  of  Venyce,"  with  the  significant  proviso  that  "  yt  bee 
not  prynted  by  the  said  James  Robertes  or  anye  other  what- 
soeuer  without  lycence  first  had  from  the  Right  honourable 
the  lord  Chamberlen."  At  that  time  the  theatrical  company 
to  which  Shakespeare  belonged  bore  the  title  of  ''  The  Lord 
Chamberlain's  Servants,"  and  the  proviso  indicates  suspicion 
of  Roberts,  the  probability  that  his  copy  was  "  stolen  and 
surreptitious,"  ^  and  a  desire  to  keep  the  play  out  of  print 
until  the  company  gave  official  sanction  through  its  patron. 
This  sanction  seems  to  have  been  granted  within  two  years, 
for  in  1600  two  editions  of  the  play  were  published. 

Attempts  have  been  made  to  give  an  approximate  date 
to  the  composition  by  identifying  it  with  one  or  other  of 
the  plays  discussed  in  the  preceding  section,  notably  the 
Venesyon  comodey,  but  the  theories  advanced  are  only  inter- 
esting guesses.  A  judicious  application  of  the  leading  inter- 
nal tests  would  indicate  that  the  date  of  composition  was 
as  near  as  possible  to  the  terminus  ante  quern}  Every- 
where the  play  shows  the  easy  freedom  of  conscious  mastery, 
the  characters  being  so  entirely  under  the  author's  control, 
and  subdued  to  his  hand,  that  he  seems  to  let  them  talk  and 
act  just  as  they  have  a  mind  to.    The  style  throughout  is  so 

1  "  .  .  .  You  were  abus'd  with  diuerse  stolne  and  surreptitious 
copies,  maimed  and  deformed  by  the  frauds  and  stealthes  of  iniuri- 
ous  impostors"  (Heminge  and  Condell's  address  "To  the  Great 
Variety  of  Readers,"  First  Folio,  1623). 

2  But  Conrad,  in  his  Metrische  Untersuchungen,  Shakespeare 
/ahrbucky  XXXI,  326,  bases  a  plea  for  1595  upon  an  analysis  of 
verse  structure.  On  the  other  hand,  Ward,  in  the  new  and  revised 
edition  (1899)  of  his  History  of  English  Dramatic  Literature ^  tends 
away  from  the  early  date  to  which  he  was  inclined  when  the  first 
edition  of  his  work  was  published. 


INTRODUCTION  xiii 

even  and  sustained,  the  word  and  the  character  are  so  fitted 
to  each  other,  the  laws  of  dramatic  proportion  are  so  well 
observed,  and  the  work  is  so  free  from  any  jarring  or  falling 
out  from  the  due  course  and  order  of  art,  as  to  justify  the 
conclusion  accepted  by  several  recent  editors  that  the  play 
was  written  at  such  a  stage  of  intellectual  growth  and  fur- 
nishing as  Shakespeare  undoubtedly  had  reached  by  the 
beginning  of  the  year  1598. 

III.   EDITIONS 
Quartos 

Two  Quarto  editions  of  The  Merchant  of  Venice  were 
published  in  the  year  1 600  : 

(i)  A  sixpenny  Quarto  of  forty  leaves,  with  the  title-page 
which  is  shown  in  facsimile  in  the  frontispiece  of  this  volume. 

As  this  —  sometimes  called  the  Roberts  Quarto  —  was 
evidently  the  first  of  the  two  1600  Quartos  to  be  entered  on 
The  Stationers'  Registers  (see  above),  though  its  priority  of 
publication  is  uncertain,  J.  P.  Kemble  (1798)  called  it  the 
First  Quarto ;  and  this  nomenclature  has  been  adopted  by 
the  editors  of  the  Cambridge  Shakespeare  and  by  almost 
all  the  leading  Shakespeare  scholars  and  editors  of  recent 
years.    In  this  edition  it  is  designated  Qj. 

(2)  A  Quarto  of  38  leaves,  with  the  title-page  shown  in 
facsimile  on  the  following  page. 

This  —  sometimes  known  as  the  Heyes^  Quarto  —  is 
called  by  the  Cambridge  editors  the  Second  Quarto,  though 

1  In  The  Stationers'  Registers^  under  the  date  "  28  Octobris  (1600, 
42  Regine),"  when  this  Quarto  seems  to  have  been  entered,  the 
name  is  given  as  "  Thomas  haies." 


The  moft  excellent 

Hiftorie  of  the  ^SXderchant 
of  Venice^. 

With  the  cxtrcame  jcrucldeof  iStj/oc^  the  Icwc 

towards  the  fayd  Merchant,  in  cutting  a  iuft  pound 

of  his  flcfh:  andiheobtayniDgofP^r/^4 

bythc  choyfc  of  three 

chcfts. 

As  it  hath  heene  Huers  times  Med  by  the  Lord 
Chmberhin^his  Serttants^ 

Written  by  William  Shakcfpearc. 


AT.  LONDON, 
Printed  by  7.  ^for  Thomas  Heyes, 

and  are  to  be  fold  inPaulcs  Church-yard,  at  the 

figncof  the  Greene  Dragon. 

1  6  oo« 


INTRODUCTION  XV 

Johnson  and  Capell,  believing  in  its  priority,  named  it  the 
First  Quarto.    In  this  edition  it  is  designated  Q2. 

Each  of  these  Quartos  —  the  only  editions  of  the  play 
that  are  known  to  have  appeared  in  Shakespeare's  lifetime 
—  seems  to  have  been  printed  from  a  different  transcript  of 
what  was  probably  the  author's  original  copy,  that  of  Qi 
being  the  work  of  a  careful  copyist,  that  of  Q2  of  one  more 
careless  if  not  more  illiterate. 

In  1637  Laurence  Hayes  (Heyes,  Haies),  son  of  the  pub- 
lisher of  Q2,  published  what  is  now  known  as  the  Third  Quarto 
(Qs),  having  entered  it  on  The  Stationers^  Registers  eighteen 
years  before  (Regni  Regis' 17°  8°  Julii,  1619).  Qg  is  in  the 
main  but  a  careless  reprint  of  Q2,  but  in  it  appears  *'The 
Actors  Names  "  —  the  first  list  of  dramatis  personse. 

In  1652  appeared  the  Fourth  Quarto  (Q4),  which  seems 
but  a  reissue  of  Q3  with  a  new  title-page.  "...  It  is 
undoubtedly  a  fact  worth  remarking,  —  that  just  at  the  time 
of  this  reissue  the  Jews  were  beginning  to  ask  for  readmis- 
sion  into  England,  and  the  consideration  of  their  request  to 
be  seriously  entertained." — Hales. 

Folios 

In  the  First  Folio  (1623),  designated  in  this  edition  Fi, 
the  text  of  The  Merchant  of  Venice  is  very  similar  to  that 
of  Q2J  but  here  for  the  first  time  is  found  the  formal  divi- 
sion into  acts.  The  Second  Folio,  F2  (1632),  the  Third 
Folio,  Fs  (1663,  1664),  and  the  Fourth  Folio,  F4  (1685), 
show  few  real  variants  in  the  text  of  this  play  and  none 
of  great  importance. 


xvi         THE  NEW  HUDSON  SHAKESPEARE 


Rowe's  Editions 

In  1709  Nicholas  Rowe,  poet  laureate  from  1715  to  1718, 
published  what  is  the  first  critical  and  the  first  octavo  edi- 
tion of  Shakespeare  and  issued  a  second  and  enlarged 
edition  five  years  later.  Rowe,  himself  a  practical  play- 
wright, made  the  excellent  division  of  acts  into  scenes 
which  almost  all  later  editors  have  accepted ;  and  he  intro- 
duced the  list  of  dramatis  personae  which  has  been  made  the 
basis  for  all  later  lists. 


IV.    DRAMATIC  STRUCTURE  AND  MANAGEMENT 
OF  TIME  AND   PLACE 

The  essential  elements  of  a  drama  are  (i)  the  exposition 
or  introduction,  (2)  the  complication  or  rising  action,  (3)  the 
climax  or  turning  point,  (4)  the  resolution  or  falling  action, 
and  (5)  the  catastrophe  or  conclusion.  In  a  tragic  drama 
the  hero  struggles  with  antagonizing  forces  and  is  defeated ; 
in  comedy  he  triumphs.  The  Merchant  of  Venice  is  a 
comedy  in  which  Antonio  triumphs  over  the  difficulties  and 
complications  woven  around  him  in  the  rising  action.  Plere 
as  in  Shakespeare's  other  plays  the  organic  parts  of  the 
action  do  not  correspond  exactly  to  the  mechanical  division 
into  acts.  In  this  play  the  exposition  is  contained  in  the 
first  two  scenes ;  the  complication  begins  with  the  conver- 
sation between  Bassanio  and  Shylock  regarding  the  loan,  and 
continues  until  the  climax  is  reached  in  the  casket  scene 
of  the  third  act,  at  the  close  of  which  is  read  Antonio's  let- 
ter to  Bassanio  announcing  the  desperate  condition  of  his 


INTRODUCTION  XVU 

affairs.  The  beginning  of  the  resolution  is  usually  in  the 
closest  union  with  the  climax,  and  Portia's  sending  Bassanio 
to  the  relief  of  Antonio  is  incorporated  with  the  casket  scene. 
The  resolution  or  falling  action  is  complete  with  the  close 
of  the  trial  scene  and  the  episode  of  the  rings.  This  epi- 
sode, linking  the  tragic  subaction  to  the  comic  main  action, 
brings  about  the  exquisite  conclusion  amid  the  music  and 
the  moonlight  of  Belmont. 

The  Merchant  of  Venice  is  a  romantic  drama  in  which 
the  classical  unities  of  time  and  place  are  quietly  set  aside 
in  favor  of  the  supreme  unity  of  life.  In  the  action  of  the 
play  a  quarter  of  a  year  is  made  to  pass,  and,  as  we  read  or 
listen,  it  seems  a  matter  of  a  few  hours.  The  scene  shifts 
from  Venice  to  Belmont  and  from  Belmont  to  Venice ;  and 
such  improbabilities  as  the  stories  of  the  bond  and  of  the 
caskets  are  interwoven  with  Jessica's  elopement  and  the 
episode  of  the  rings  into  a  symmetrical,  fascinating,  an^ 
convincing  plot.  Eccles^  has  one  formal  time  analysis; 
Halpin,  another ;  P.  A.  Daniel,  a  third.  Christopher  North 
(Professor  John  Wilson)  published  in  Blackwoo(Vs  Edin- 
burgh Magazine  a  theory  of  'double  time,'  as  used  by 
Shakespeare  :  "  Shakespeare  counts  off  days  and  hours,  as 
it  were,  by  two  clocks,  on  one  of  which  the  true  Historic 
time  is  recorded,  and  on  the  other  the  Dramatic  time,  or  a 
false  show  of  time,  whereby  days,  weeks,  and  months  may 
be  to  the  utmost  contracted."  But  such  ingenious  theories 
and  analyses  are  beside  the  mark  when  the  difference  be- 
tween a  poet's  point  of  view  and  a  scientist's  is  recognized. 
Shakespeare's  time,  like  Sir  Walter  Scott's,  is  independent 

^  See  Fumess's  A  New  Variorum  Edition —  The  Merchant  of 
Venice^  "  The  Duration  of  the  Action,"  332-341. 


xviii       THE  NEW  HUDSON  SHAKESPEARE 

of  chronometers  and  almanacs;  and  in  his  treatment  of 
localities  it  is  but  a  fool's  errand  to  go  for  help  to  the 
maps  and  charts  of  the  formal  geographer. 


V.  VERSIFICATION  AND  DICTION 

Blank  Verse 

The  greater  part  of  The  Mercha?it  of  Venice  is  in  blank 
verse  ^ — the  rhymeless,  iambic  five-stress  verse  (iambic 
pentameter)  introduced  into  England  from  Italy  by  Henry 
Howard,  Earl  of  Surrey,  about  1540,  and  used  by  him  in 
a  translation  of  the  second  and  fourth  books  of  Vergil's 
^neid,  Nicholas  Grimald  {TotteVs  Miscellany^  i557)  em- 
ployed the  measure  for  the  first  time  in  English  original 
poetry,  and  its  roots  began  to  strike  deep  into  British  soil 
and  absorb  substance.  It  is  peculiarly  significant  that  Sack- 
ville  and  Norton  should  have  used  it  as  the  measure  of 
Gorboduc,  the  first  English  tragedy  (performed  by  "  the 
Gentlemen  of  the  Inner  Temple"  on  January  18, 15 61,  and 
first  printed  in  1565).  About  the  time  when  Shakespeare 
arrived  in  London  the  infinite  possibilities  of  blank  verse  as 
a  vehicle  for  dramatic  poetry  and  passion  were  being  shown 
by  Kyd  and  above  all  by  Marlowe.  The  blank  verse  of 
Shakespeare's  earlier  plays,  like  that  of  Surrey  and  Sack- 
ville,  is  for  the  most  part  restrained  and  monotonously  reg- 
ular; in  his  later  plays  it  breaks  away  from  the  formal 
verse  limits  and  sweeps  all  before  it  in  its  freedom,  power, 

1  The  term  *  blank  verse  *  is  used  for  the  first  time  in  Nash's 
Preface  to  Greene's  Menaphon  (1589),  where  we  find  the  expression : 
"  the  swelling  bumbast  of  bragging  blanke  verse." 


INTRODUCTION  xix 

and  organic  continuity.  In  the  blank  verse  of  The  Mer- 
chant of  Venice  we  have  the  transition  from  the  earlier  style 
to  the  later,  and  trochees,  spondees,  feminine  endings,  run-on 
lines,  incomplete  lines,  Alexandrines,  etc.,  vary  the  rhythm 
and  give  flexibility  and  vigor,  though  end-stopped  lines 
abound,  many  of  them  (for  instance,  the  first  line  of  the 
play)  examples  of  normal  five-stress  iambic  pentameter. 

Rhyme 

When  compared  with  Shakespeare's  earlier  plays.  The 
Merchant  of  Venice  shows  a  marked  decrease  in  the  use  of 
rhyme  in  the  dialogue.  With  the  ever-increasing  freedom 
from  metrical  ^restraint  which  distinguishes  Shakespeare's 
development  as  a  writer  of  verse,  there  is  less  and  less 
employment  of  rhymed  couplets,  and  in  this  play,  as  in  the 
later  plays,  these  couplets  are  for  the  most  part  rhyme-tags 
at  the  close  of  scenes. 

The  scrolls  within  the  caskets  are  in  four-stress  trochaic 
verse  catalectic,  varied  by  normal  four-stress  iambic  lines. 

"Tell  me  where  is  fancy  bred"  is  the  only  song  in  the 
play,  but,  woven  of  trochaic  and  iambic  rhyming  lines,  it  is 
one  of  the  daintiest  in  the  precious  volume  of  Shakespeare's 
lyrics  that  daily  "with  the  innocence  of  love  like  the  old 
age." 

Prose 

In  the  development  of  the  English  drama  the  use  of 
prose  as  a  vehicle  of  expression  entitled  to  equal  rights  with 
verse,  was  due  to  Lyly.  He  was  the  first  to  use  prose  with 
power  and  distinction  in  original  plays,  and  did  memorable 


XX  THE   NEW  HUDSON   SHAKESPEARE 

service  in  preparing  the  way  for  Shakespeare's  achievement 
as  a  master  of  humorous  prose  in  high  comedy.  In  Shake- 
speare's prose,  as  has  been  pointed  out  by  Delms  (Die Prosa  in 
Shakespeares  Dramen,  Shakespeare  Jahrbuch,  V,  227-273) 
three  varieties  may  be  distinguished  :  (i)  The  speech  of  the 
comic  characters,  clowns,  and  their  fellows,  which  in  phrase- 
ology, dialect,  and  construction  is  the  speech  of  the  com- 
mon people.  Such  is  what  we  have  in  the  talk  of  Launcelot 
and  Old  Gobbo.  (2)  The  essentially  euphuistic  prose,  fea- 
tures of  which  are  at  times  introduced  in  Shakespeare's 
earlier  plays  in  order  to  ridicule  it,  but  occur  in  his  later 
dramas  without  any  such  purpose  and  in  full  seriousness 
where  information  is  to  be  given  as  to  the  nature  of  a  situa- 
tion, or  where  a  specially  solemn  and  ceremonious  tone  is 
intended.  (3)  The  humorous  prose  spoken  as  a  rule,  though 
not  exclusively,  by  persons  of  superior  rank  or  importance  — 
the  prose  of  high  comedy,  vivacious,  sparkling,  and  flashing 
with  repartee.  Examples  of  this  are  the  conversations  be- 
tween Portia  and  Nerissa  in  this  play  and  the  wit-combats 
in  Much  Ado  About  Nothing, 


VI.  GENERAL  CHARACTERISTICS 


/ 


While  The  Merchant  of  Venice  shows  no  novelty  either  of 
story  or  of  plot,  Shakespeare  here  as  elsewhere  making  use 
of  material  common  to  European  and  oriental  literature 
and  of  universal  appeal,  it  is  one  of  the  most  original  pro- 
ductions of  the  human  mind  by  virtue  of  conception  and 
development  of  character,  poetical  texture  and  grain,  sap 
and  flavor  of  wit  and  humor,  and  all  that  touches  the  real 
life  and  virtue  of  workmanship.    The  praise  of  the  play  is 


INTRODUCTION  xxi 

in  the  mouth  of  all  who  have  vision  to  discern.  From  the 
reopening  of  the  theaters  at  the  Restoration  till  the  present 
day,  it  has  kept  its  place  on  the  stage ;  it  is  among  the  first 
of  Shakespeare's  works  to  be  read,  and  the  last  to  be  forgot- 
ten ;  its  interest  is  as  durable  in  the  closet  as  on  the  boards. 

Critics  have  too  often  entertained  themselves  with  specu- 
lations as  to  the  specific  moral  purpose  in  this  play  or  that. 
A  work  of  art,  to  be  really  deserving  the  name,  must  needs 
be  moral,  because  it  must  be  proportionable  and  true  to 
nature,  thus  attuning  our  inward  forces  to  the  voice  of 
external  order  and  law;  otherwise  it  is  at  strife  with  the 
compact  of  things,  a  piece  of  dissonance,  a  jarring,  unbal- 
anced, crazy  thing,  that  will  die  of  its  own  internal  disorder. 
If,  then,  a  work  be  morally  bad,  this  proves  the  author  more 
a  bungler  than  anything  else.  And  if  any  one  admire  it  or 
take  pleasure  in  it,  he  does  so,  not  from  reason,  but  from 
something  within  him  of  which  his  reason,  in  so  far  as  he 
has  any,  necessarily  disapproves  :  so  that  he  is  rather  to  be 
laughed  at  as  a  dunce  than  preached  to  as  a  sinner. 

As  to  the  moral  temper  of  The  Merchant  of  Venice^  critics 
have  differed  widely,  some  regarding  the  play  as  teaching 
the  most  comprehensive  humanity,  others  as  caressing  the 
narrowest  bigotries  of  the  Elizabethan  age.  This  difference 
may  be  fairly  taken  as  an  argument  for  Shakespeare's  can- 
dor and  evenhandedness.  A  special  pleader  is  not  apt  to 
leave  the  hearers  in  doubt  on  which  side  of  the  question  he 
stands.  In  this  play,  as  in  others,  the  poet  ordered  things 
mainly  with  a  view  to  dramatic  effect,  though  to  such  effect 
in  the  largest  and  noblest  sense.  And  the  highest  praise 
compatible  with  tne  nature  of  the  work  is  justly  his,  inas- 
much as  he  did  not  allow  himself  to  be  swayed  either  way 


/ 


xxii       THE  NEW  HUDSON  SHAKESPEARE 

from  the  right  measures  and  proportions  of  art.  For  art  is, 
from  its  very  nature,  obliged  to  be  "  without  respect  of  per- 
sons." Impartiality  is  its  essential  law,  the  constituent  of 
its  being.   And  of  Shakespeare  it  could  least  of  all  be  said, — 

he  narrow'd  his  mind, 
And  to  party  gave  up  what  was  meant  for  mankind. 

He  represented  men  as  he  had  seen  them.  And  he  could 
neither  repeal  nor  ignore  the  old  law  of  human  nature,  in 
virtue  of  which  the  wisest  and  kindest  men  are  more  or  less 
warped  by  social  customs  and  prejudices,  so  that  they  come 
to  do,  and  even  to  make  a  merit  of  doing,  some  things  that 
are  very  unwise  and  unkind ;  while  the  wrongs  and  insults 
which  they  are  thus  led  to  practice  have  the  effect  of  goad- 
ing the  sufferers  into  savage  mahgnity  and  revenge.  Had 
he  so  clothed  the  latter  with  gentle  and  amiable  qualities  as 
to  enhst  the  feelings  of  all  in  their  behalf,  he  would  have 
given  a  false  view  of  human  nature,  and  his  work  would 
have  lost  much  of  its  instructiveness  on  the  score  of  prac- 
tical morality.  For  good  morals  can  never  be  reached 
by  departures  from  truth  —  a  rule  that  may  be  profitably 
remembered  by  all  who  are  moved  to  act  as  advocates  and 
special  pleaders  in  what  they  think  a  good  cause. 

Vn.    OUTLINE    OF   THE    STORY 

Antonio,  the  Merchant,  has  a  strange  mood  of  sadness 
upon  him,  and  three  of  his  friends  are  bending  their  wits  to 
play  it  off.  Among  them,  and  dearer  to  him  than  the  others, 
is  one  Bassanio,  a  gentleman  who,  young  and  generous,  has 
lavished  his  fortune.    Bassanio's  heart  is  turning  towards 


INTRODUCTION  xxiii 

Portia,  a  wealthy  heiress  who,  highly  famed  for  gifts  and 
virtues,  resides  not  many  miles  off;  and  from  whose  eyes 
he  has  received  "  fair  speechless  messages."  But  he  wants 
**  the  means  to  hold  a  rival  place "  among  her  princely 
suitors.  Antonio  freely  and  gladly  pledges  his  wealth  and 
credit  to  Bassanio*s  service,  but  as  his  funds  are  all  embarked 
in  ventures  at  sea,  he  tries  his  credit  with  a  rich  Jew,  whose 
person  he  has  often  insulted,  and  whose  greed  his  Christian 
liberality  has  often  thwarted.  Shylock,  the  Jew,  feigning  a 
merry  humor,  consents  to  lend  the  sum,  provided  Antonio 
sign  a  bond  authorizing  him,  in  case  of  forfeiture,  to  cut  a 
pound  of  flesh  from  whatever  part  of  his  body  he  may 
choose.  Antonio  readily  agrees  to  this,  and  so  equips  his 
friend  for  the  loving  enterprise. 

Bassanio  prosecutes  his  suit  to  Portia  with  success.  But, 
while  yet  in  his  first  transports  of  joy,  he  learns  that  Antonio's 
ventures  at  sea  have  all  miscarried,  and  that  the  Jew,  with 
malignant  earnestness,  claims  the  forfeiture.  Leaving  his 
bride  the  moment  he  has  sworn  the  sweet  oath,  he  hastens 
away,  resolved  to  save  his  friend's  life  at  the  expense,  if 
need  be,  of  his  own.  Thereupon  Portia  gets  instructions 
from  the  most  learned  lawyer  in  those  parts,  and,  habiting 
herself  as  a  doctor  of  laws,  repairs  to  the  trial.  To  divert 
the  Jew  from  his  purpose,  she  taxes  her  wisdom  and  per- 
suasion to  the  utmost,  but  in  vain.  Scorning  the  spirit  of 
justice,  and  deaf  to  the  voice  of  mercy,  both  of  which  speak 
with  eloquence  from  Portia's  lips,  rejecting  thrice  the 
amount  of  the  bond,  and  standing  immovable  on  the  letter 
of  the  law,  Shylock  pushes  his  revenge  to  the  very  point  of 
making  the  fatal  incision,  when  she  turns  the  letter  of  the 
law  against  him,  strips  him  of  penalty,  principal,  and  all,  and 


xxiv       THE  NEW  HUDSON   SHAKESPEARE 

subjects  even  his  life  to  the  mercy  of  the  Duke.  As  the 
condition  of  his  life,  he  is  required  to  sign  a  deed  securing 
all  his  wealth  to  his  daughter,  who,  loaded  with  his  ducats 
and  jewels,  has  lately  eloped  with  another  of  Antonio's 
friends,  and  is  staying  at  Portia's  mansion  during  her 
absence.  The  play  winds  up  with  the  hastening  of  all, 
except  the  Jew,  to  Portia's  home.  When  all  have  met, 
Portia  announces  to  Antonio  the  safe  return  of  his  ships 
supposed  to  be  lost,  and  surprises  the  fugitive  lovers  with 
the  news  of  their  good  fortune. 

VIII.    THE  CHARACTERS 

In  respect  of  characterization  The  Merchant  of  Venice  is 
exceedingly  rich,  and  this  too  both  in  quantity  and  quality. 
The  persons  naturally  fall  into  three  several  groups,  with 
each  its  several  plot  and  action ;  but  the  three  are  skillfully 
complotted,  each  standing  out  clear  and  distinct  in  its 
place,  yet  so  drawing  in  with  the  others,  that  everything 
helps  on  everything  else,  there  being  neither  any  confusion 
nor  any  appearance  of  care  to  avoid  it.  Of  these  three 
groups,  Antonio,  Shylock,  and  Portia  are  respectively  the 
centers.  The  part  of  Lorenzo  and  Jessica,  though  strictly 
an  episode,  seems  to  grow  forth  as  an  element  of  the  origi- 
nal germ,  a  sort  of  inherent  superfluity,  and  as  such  essen- 
tial to  the  well-being  of  the  piece.  It  may  be  described  as 
a  fine  romantic  undertone  accompaniment  to  the  other  parts, 
itself  in  perfect  harmony  with  them,  and  perfecting  their 
harmony  with  each  other. 

In  the  first  entry  on  The  Statio7iers'  Registers  (see  above, 
"Date  of  Composition")  the  play  is  described  as  "abookeof 


INTRODUCTION  XXV 

the  Marchaunt  of  Venyce  or  otherwise  called  the  Jewe  of 
Venyce."  This  would  seem  to  infer  that  the  author  was 
then  in  some  doubt  whether  to  name  it  from  Antonio  or 
from  Shylock.  As  an  individual,  Shylock  is  the  character 
of  the  play,  and  exhibits  more  of  mastership  than  any 
of  the  others;  so  that,  viewing  the  persons  severally,  we 
should  say  the  piece  ought  to  be  named  from  him.  But  we 
have  not  far  to  seek  for  good  reasons  why  it  should  be  named 
as  it  is.  For  if  the  Jew  is  the  more  important  individually, 
the  Merchant  is  so  dramatically.  Antonio  is  the  center  and 
mainspring  of  the  action ;  without  him,  Shylock,  however 
great  in  himself,  had  no  business  there.  And  the  laws  of 
dramatic  combination,  not  any  accident  of  individual  prom- 
inence, are  clearly  what  ought  to  govern  in  the  naming  of 
the  play. 

Antonio 

Not  indeed  that  the  Merchant  is  a  small  matter  in  him- 
self; far  from  it;  he  is  a  highly  interesting  and  attractive 
personage,  with  timber  enough  in  him  for  a  good  dramatic 
hero  apart  from  the  Jew.  Something  of  a  peculiar  charm 
attaches  to  him  from  the  state  of  mind  in  which  we  first 
see  him.  A  dim,  mysterious  presage  of  evil  weighs  down 
his  spirits,  as  though  he  felt  afar  off  the  coming  on  of  some 
great  calamity.  This  unwonted  dejection,  sweetened  as  it 
is  with  his  habitual  kindness  and  good  nature,  has  the  effect 
of  showing  how  dearly  he  is  held  by  such  whose  friendship 
is  the  fairest  earthly  purchase  of  virtue.  It  is  significant 
that  upon  tempers  like  his  even  the  smiles  of  fortune  often 
have  a  strangely  saddening  effect.  For  such  a  man,  even 
because  he  is  good,  is  apt  to  be  haunted  with  a  sense  of 


XXVI       THE  NEW  HUDSON  SHAKESPEARE 

having  more  than  he  deserves ;  and  this  may  not  unnatu- 
rally inspire  him  with  an  indefinable  dread  of  some  reverse 
which  shall  square  up  the  account  of  his  present  blessings. 
Thus  his  very  happiness  works  by  subtle  methods  to  charge 
his  heart  with  certain  dark  forebodings.  Such  presentiments 
are  in  the  right  line  of  nature : 

Oft,  startled  and  made  wise 
By  their  low-breathed  interpretings, 
The  simply-meek  foretaste  the  springs 

Of  bitter  contraries. 

But  the  sorrow  that  has  such  noble  comforters  as  Antonio's 
can  hardly  be  ungrateful  to  us.  Our  nature  is  honored  in 
the  feelings  that  spring  up  on  both  sides. 

Wealth  indeed  seldom  dispenses  such  warnings  save  to 
its  most  virtuous  possessors.  And  such  is  Antonio.  A  kind- 
hearted  and  sweet-mannered  man  >  of  a  large  and  liberal 
spirit ;  affable,  generous,  and  magnificent  in  his  dispositions ; 
patient  of  trial,  indulgent  to  weakness,  free  where  he  loves, 
and  frank  where  he  hates ;  in  prosperity  modest,  in  adver- 
sity cheerful ;  craving  wealth  for  the  uses  of  virtue,  and  as 
the  sinews  of  friendship ;  —  his  character  is  one  which  we 
never  weary  of  contemplating.  The  only  blemish  we  per- 
ceive is  his  treatment  of  Shylock :  in  this,  though  it  is 
more  the  fault  of  the  times  than  of  the  man,  we  cannot  help 
siding  against  him.  We  need  not  ask  a  clearer  instance  of 
poetical  justice  than  this,  and  even  this  we  blame  rather  as  a 
wrong  done  to  himself  than  to  Shylock ;  as  the  Jew,  despite 
his  provocations,  avowedly  grounds  his  hate  mainly  on  those 
very  things  which  make  the  strongest  title  to  a  good  man's 
love.  For  Shylock's  revenge  fastens  not  so  much  on  the 
man's  abuse  of  him  as  on  his  kindness  to  others. 


INTRODUCTION  xxvii 

Antonio's  Friends 

The  friendship  between  the  Merchant  and  his  compan- 
ions is  such  a  picture  as  Shakespeare  evidently  delighted  to 
draw.  And  so  fair  a  sentiment  is  not  apt  to  inhabit  ignoble 
breasts.  Bassanio,  Gratiano,  and  Salarino  give  a  pleasing 
variety  to  the  scenes  where  they  move.  Bassanio,  though 
something  too  lavish  of  purse,  is  a  model  of  a  gentleman, 
in  whose  character  and  behavior  all  is  order  and  propriety, 
with  whom  good  manners  are  the  proper  outside  and  visi- 
bility of  a  fair  mind  —  the  natural  foliage  and  drapery  of 
inward  refinement  and  dehcacy  and  rectitude.  Well-bred, 
he  has  that  in  him  which,  even  had  his  breeding  been  ill, 
would  have  raised  him  above  it  and  made  him  a  gentleman. 

Gratiano  and  Salarino  are  as  clever,  sprightly,  and  voluble 
persons  as  any  one  need  desire  to  be  with ;  the  chief  differ- 
ence between  them  being,  that  the  former  lets  his  tongue 
run  on  from  good  impulses,  while  the  latter  makes  it  do  so 
for  good  ends.  If  not  so  wise  as  Bassanio,  they  are  more 
witty;  and  as  much  surpass  him  in  strength,  as  they  fall 
short  of  him  in  beauty  of  character.  Gratiano,  while  much 
more  prone  than  Salarino  to  flood  us  with  his  talk,  also 
shows  less  subjection  of  the  individual  to  the  common  forms 
of  social  decorum :  so  that,  if  he  behaves  not  quite  so  well 
as  the  others,  he  gives  livelier  proof  that  what  good  behavior 
he  has  is  his  own  —  a  growth  from  within,  not  a  piece  of 
imitation.  And  we  are  rather  agreeably  surprised  that  one 
so  talkative  and  rattle-tongued  should  carry  so  much  weight 
of  meaning ;  he  sometimes  appears  less  sensible  than  he  is, 
because  of  his  galloping  volubility.  But  he  has  no  wish  to 
be  "  reputed  wise  for  saying  nothing " ;  and  he  makes  a 


xxviii    THE  NEW  HUDSON  SHAKESPEARE 

merit  of  talking  nonsense  when,  as  is  sometimes  the  case, 
nonsense  is  the  best  sort  of  sense :  for,  like  a  prime  good 
fellow,  as  he  is,  he  would  rather  incur  the  charge  of  folly 
than  not,  provided  he  can  thereby  add  to  the  health  and 
entertainment  of  his  friends. 


Lorenzo  and  Jessica 

Lorenzo  and  Jessica,  the  runaway  lovers,  are  in  such  a 
lyrical  state  of  mind  that  a  clear  view  of  their  characters  is 
somewhat  interfered  with.  Both  are  indeed  overflowing 
with  sweetness  and  beauty,  but  more,  perhaps,  as  the  result 
of  their  relations  to  each  other  than  of  inherent  qualities. 
Jessica's  elopement,  in  itself  and  its  circumstances,  puts  us 
to  the  alternative  that  either  she  is  a  bad  child  or  Shylock 
a  bad  father.  And  while  there  is  enough  to  persuade  us  of 
the  latter,  some  share  of  the  reproach  falls  to  her.  For 
if  a  young  woman  have  so  bad  a  home  as  to  justify  her 
in  thus  deserting  and  robbing  it,  the  atmosphere  of  the 
place  can  hardly  fail  to  leave  some  traces  in  her  temper 
and  character. 

Lorenzo  stands  fair  in  our  regard,  negatively,  because 
he  does  nothing  unhandsome ;  positively,  because  he  has 
such  good  men  for  his  friends.  And  it  is  rather  curious  that 
what  is  thus  done  for  him,  should  be  done  for  Jessica  by 
such  a  person  as  Launcelot  Gobbo.  For  she  and  the  clown 
are  made  to  reflect  each  other's  choicer  qualities.)  We  think 
the  better  of  her  for  having  kindled  something  of  poetry  in 
such  a  clod,  and  of  him  for  being  raised  above  himself  by 
such  an  object.  Her  conduct  is  further  justified  to  our 
feelings  by  the  odd  testimony  he  furnishes  of  her  father's 


INTRODUCTION  XXIX 

badness;  which  testimony,  though  not  of  much  weight  in 
itself,  goes  far  to  confirm  that  of  others.  We  see  that  the 
Jew  is  much  the  same  at  home  as  in  the  Rialto ;  that,  let 
him  be  where  he  will,  it  is  his  nature  to  snarl  and  bite. 


Launcelot  Gobbo 

Such,  from  one  point  of  view,  is  the  dramatic  propriety 
of  this  Launcelot.  His  part  gives  a  fuller  view  both  of  Jes- 
sica and  of  her  father.  But,  in  addition  to  this  function, 
he  has  also  a  value  in  himself.  His  own  personal  rights 
enter  into  the  purpose  of  his  introduction,  and  he  carries  in 
himself  a  part  of  the  reason  why  he  is  so,  and  not  otherwise ; 
for  Shakespeare  seldom  if  ever  brings  in  a  person  merely 
for  the  sake  of  others.  A  mixture  of  conceit  and  drollery, 
and  hugely  wrapped  up  in  self,  he  is  by  no  means  a  com- 
monplace buffoon,  but  stands  firm  in  his  sufficiency  of 
original  stock.  His  elaborate  nonsense,  his  grasping  at  a 
pun  without  catching  it,  yet  feeling  just  as  grand  as  if  he 
did,  is  both  ludicrous  and  natural.  The  poverty  of  his  wit  is 
enriched  by  his  complacency  in  dealing  it  out.  His  part 
indeed  amply  pays  its  way,  in  showing  how  much  of  mirth 
may  be  caused  by  feebleness  in  a  great  attempt  at  a  small 
matter.  In  him  the  mother-element  of  the  whole  piece  runs 
out  into  broad  humor  and  travesty ;  his  reasons  for  breaking 
with  his  master  the  Jew  being,  as  it  were,  a  variation  in 
drollery  upon  the  main  theme  of  the  play.  He  exhibits 
under  a  comic  form  the  general  aspect  of  surrounding 
humanity ;  while  at  the  same  time  his  character  is  an  inte- 
gral part  of  that  varied  structure  of  human  life  which  it 
belongs  to  the  Drama  to  represent. 


XXX        THE   NEW  HUDSON  SHAKESPEARE 


Portia 

In  Portia  Shakespeare  seems  to  have  aimed  at  a  perfect 
scheme  of  an  amiable,  intelligent,  and  accomplished  woman. 
The  result  is  a  fine  specimen  of  beautiful  nature  enhanced 
by  beautiful  art.  Eminently  practical  in  her  tastes  and  turn 
of  mind,  full  of  native,  home-bred  sense  and  virtue,  Portia 
unites  therewith  something  of  the  ripeness  and  dignity  of  a 
sage,  a  mellow  eloquence,  and  a  large,  noble  discourse ;  the 
whole  being  tempered  with  the  best  grace  and  sensibility  of 
womanhood.  As  intelligent  as  the  strongest,  she  is  at  the 
same  time  as  feminine  as  the  weakest  of  her  sex  :  she  talks 
like  a  poet  and  a  philosopher,  and  she  talks,  for  all  the 
world,  just  like  a  woman  !  She  is  as  full  of  pleasantry,  too, 
and  as  merry  "  within  the  limit  of  becoming  mirth,"  as  she 
is  womanly  and  wise ;  and  her  arch  sportiveness  always  has 
a  special  flavor  as  the  free  outcome  of  perfect  moral  health. 
Nothing  indeed  can  be  more  fitting  and  well  placed  than 
her  demeanor,  now  bracing  her  speech  with  grave  maxims 
of  practical  wisdom,  now  unbending  her  mind  in  sallies  of 
wit,  or  of  innocent,  roguish  banter.  The  sportive  element 
of  her  composition  has  its  happiest  showing  in  her  dialogue 
with  Nerissa  about  the  "parcel  of  wooers,"  and  in  her 
humorous  description  of  the  part  she  imagines  herself 
playing  in  her  purposed  disguise.  The  latter  is  especially 
delightful  from  its  harmonious  contrast  with  the  solid 
thoughtfulness  which,  after  all,  forms  the  staple  and  frame- 
work of  her  character.  How  charmingly  it  sets  off  the 
divine  rapture  of  eloquence  with  which  she  discourses  to 
the  Jew  of  mercy  !  — 


INTRODUCTION  XXXI 

I  '11  hold  thee  any  wager, 
When  we  are  both  accoutred  like  young  men, 
1 41  prove  the  prettier  fellow  of  the  two, 
And  wear  my  dagger  with  the  braver  grace ; 
And  speak  between  the  change  of  man  and  boy 
With  a  reed  voice ;  and  turn  two  mincing  steps 
Into  a  manly  stride  ;  and  speak  of  frays, 
Like  a  fine-bragging  youth ;  and  tell  quaint  lies, 
How  honourable  ladies  sought  my  love, 
Which  I  denying,  they  fell  sick  and  died ; 
I  could  not  do  withal :  then  I  '11  repent. 
And  wish,  for  all  that,  that  I  had  not  kill'd  them. 
And  twenty  of  these  puny  lies  I  '11  tell ; 
Then  men  shall  swear  I  have  discontinued  school 
Above  a  twelvemonth.    I  have  within  my  mind 
A  thousand  raw  tricks  of  these  bragging  Jacks, 
Which  I  will  practise.     [Ill,  iv,  62-78.] 

Partly  from  condition,  partly  from  culture,  Portia  has 
grown  to  live  more  in  the  understanding  than  in  the  affec- 
tions ;  for  which  cause  she  is  somewhat  self-conscious,  but 
her  character  is  hardly  the  less  lovely  on  that  account ;  she 
talks  considerably  of  herself  indeed,  but  always  so  becom- 
ingly that  we  hardly  wish  her  to  choose  any  other  subject, 
for  we  are  pleasantly  surprised  that  one  so  well  aware  of 
her  gifts  should  still  bear  them  so  meekly.  Mrs.  Jameson, 
with  Portia  in  her  eye,  intimates  that  Shakespeare  is  about 
the  only  artist,  except  nature,  who  can  make  women  wise 
without  turning  them  into  men.  And  it  is  well  worth  the 
noting  that,  honorable  as  the  issue  of  her  course  at  the 
trial  would  be  to  a  man,  Portia  shows  no  unwomanly  crav- 
ing to  be  in  the  scene  of  her  triumph  :  as  she  goes  there 
prompted  by  the  feelings  and  duties  of  a  wife,  and  for  the 
saving  of  her  husband's  honor  and  peace  of  mind,  —  being 


xxxil      THE   NEW  HUDSON   SHAKESPEARE 

resolved  that  "  never  shall  he  lie  by  Portia's  side  with  an 
unquiet  soul "  ;  so  she  gladly  leaves  when  these  causes  no 
longer  bear  in  that  direction.  Then,  too,  exquisitely  culti- 
vated as  she  is,  humanity  has  not  been  so  refined  out  of  her 
that  in  such  a  service  she  cannot  stoop  from  her  elevation, 
and  hazard  a  brief  departure  from  the  sanctuary  of  her  sex. 
As  Portia  is  to  act  for  once  the  part  of  a  man,  it  would 
seem  hardly  possible  for  her  to  go  through  the  undertaking 
without  more  of  self-confidence  than  were  becoming  in  a 
woman;  and  the  student  may  find  plenty  of  matter  for 
thought  in  the  poet's  so  managing  as  to  prevent  such  an 
impression.  For  there  is  nothing  like  ostentation  or  con- 
ceit of  intellect  in  Portia.  Though  knowing  enough  for  any 
station,  still  it  never  once  enters  her  head  that  she  is  too 
wise  for  the  station  which  Providence  or  the  settled  order 
of  society  has  assigned  her.  She  would  therefore  neither 
hide  her  light  under  a  bushel  that  others  may  not  see  by  it, 
nor  perch  it  aloft  in  public  that  others  may  see  it ;  but  would 
simply  set  it  on  a  candlestick  that  it  may  give  light  to  all 
in  her  house.  With  her  noble  intellect  she  has  gathered  in 
the  sweets  of  poetry  and  the  solidities  of  philosophy,  all  for 
use,  nothing  for  show;  and  has  fairly  domesticated  them, 
has  naturalized  them  in  her  sphere,  and  tamed  them  to  her 
fireside,  so  that  they  seem  as  much  at  home  there  as  if  they 
had  been  made  for  no  other  place.  And  to  all  this  mental 
enrichment  she  adds  the  skill 

So  well  to  know 
Her  own,  that  what  she  wills  to  do  or  say 
Seems  wisest,  virtuousest,  discreetest,  best. 

Portia's  consciousness  of  power  does  indeed  render  her 
cool,  collected,  and  firm,  but  never  a  whit  unfeminine  :  her 


INTRODUCTION  xxxiii 

smooth  command  both  of  herself  and  of  the  matter  she  goes 
about  rather  heightens  our  sense  of  her  modesty  than  other- 
wise :  so  that  the  impression  we  take  from  her  is,  that  these 
high  mental  prerogatives  are  of  no  sex ;  that  they  properly 
belong  to  the  common  freehold  of  woman  and  man.  Some 
of  her  speeches,  especially  at  the  trial,  are  evidently  pre- 
meditated ;  for,  as  any  good  lawyer  would  do,  she  of  course 
prepares  herself  in  the  case  beforehand ;  but  I  should  like 
to  see  the  masculine  lawyer  that  could  premeditate  anything 
equal  to  them. 

It  is  to  be  noted  withal  that  she  goes  about  her  work 
without  the  least  misgiving  as  to  the  result;  having  made 
herself  so  thoroughly  familiar  with  both  the  facts  and  the 
law  of  the  case  as  to  feel  perfectly  sure  on  that  point. 
Hence  the  charming  ease  and  serenity  with  which  she 
moves  amid  the  excitements  of  the  trial.  No  trepidations 
of  anxiety  come  in  to  disturb  the  preconcerted  order  and 
method  of  her  course.  Her  solemn  appeals  to  the  Jew  are 
made  in  the  earnest  hope  of  inducing  him  to  accept  a  full 
and  liberal  discharge  of  the  debt.  When  she  says  to  him, 
"  there  's  thrice  thy  money  offer'd  thee,"  it  is  because  she 
really  feels  that  both  the  justice  of  the  cause  and  the  honor 
of  her  husband  would  be  better  served  by  such  a  payment 
than  by  the  more  brilliant  triumph  which  awaits  her  in  case 
the  Jew  should  spurn  her  offer. 

Thus  her  management  of  the  trial  throughout  is  a  piece 
of  consummate  art ;  though  of  art  in  such  a  sense  as  pre- 
supposes perfect  integrity  of  soul.  Hence,  notwithstanding 
her  methodical  forecast  and  preparation,  she  is  as  eloquent 
as  an  angel,  and  her  eloquence,  as  by  an  instinctive  tact, 
knows  its  time  perfectly.    One  of  her  strains  in  this  kind, 


xxxiv    THE  NEW  HUDSON  SHAKESPEARE 

her  appeal  to  the  Jew  on  the  score  of  mercy,  has  been  so 
often  quoted,  that  it  would  long  since  have  grown  stale,  if  it 
were  possible  by  any  means  to  crush  the  freshness  of  unwith- 
ering  youth  out  of  it.  Her  style  in  that  speech  is  in  perfect 
keeping  with  her  habitual  modes  of  thought  and  discourse; 
even  in  her  most  spontaneous  expressions  we  have  a  reflex 
of  the  same  intellectual  physiognomy.  For  the  mental  apti- 
tude which  she  displays  in  the  trial  seems  to  have  been  the 
germinal  idea  out  of  which  her  whole  part  was  consistently 
evolved ;  as  Shakespeare's  method  often  was,  apparently, 
first  to  settle  what  his  persons  were  to  do,  and  then  to  con- 
ceive and  work  out  their  characters  accordingly. 

How  nicely  Shakespeare  discriminates  things  that  really 
differ,  so  as  to  present  in  all  cases  the  soul  of  womanhood 
without  a  particle  of  effeminacy  !  How  perfectly  he  recon- 
ciles things  that  seem  most  diverse,  pouring  into  his  women 
all  the  intellectual  forces  of  the  other  sex,  without  in  the 
least  impairing  or  obscuring  their  womanliness  !  This  is 
not  more  rare  in  poetry  than  it  is  characteristic  of  Shake- 
speare's workmanship.  Thus  Portia  is  as  much  superior  to 
her  husband  in  intellect,  in  learning,  and  accomplishment,  as 
she  is  in  wealth ;  but  she  is  none  the  less  womanly  for  all 
that.  Nor  does  she  ever  on  that  account  take  the  least 
thought  of  inverting  the  relation  between  them.  Her  mental 
superiority  breeds  no  kind  of  social  displacement,  nor  any 
desire  of  it.  While  she  is  acting  the  lawyer  in  disguise,  her 
speech  and  bearing  seem  to  those  about  her  in  the  noblest 
style  of  manliness.  In  her  judgelike  gravity  and  dignity  of 
deportment,  in  the  extent  and  accuracy  of  her  legal  knowl- 
edge, in  the  depth  and  appropriateness  of  her  moral  reflec- 
tions, in  the  luminous  order  and  coherence  and  transparency 


INTRODUCTION  XXXV 

of  her  thoughts,  she  suggests  the  worthiest  of  the  great  chief 
justices  of  history.  To  us  who  are  in  the  secret  of  her  sex, 
all  the  proprieties,  all  the  inward  harmonies,  of  her  character 
are  preserved ;  and  the  essential  grace  of  womanhood  irra- 
diates and  consecrates  the  dress  in  which  she  is  disguised. 
Portia's  strength  and  substantial  dignity  of  character  are 
not  impaired  by  the  romance  which  overflows  her  nature  — 
this  it  is  that  glorifies  her,  and  breathes  enchantment  about 
her  ;  it  adds  that  precious  seeing  to  the  eye  which  conducts 
her  to  such  winning  beauty  and  sweetness  of  deportment, 
and  makes  her  the  "rich-souled  creature''  that  Schlegel 
describes  her  to  be.  In  her  case  we  have  a  remarkable 
example  of  how  Shakespeare  makes  the  several  parts  and 
persons  of  a  drama  cohere  not  only  with  one  another  but 
with  the  general  circumstances  wherein  they  occur.  In 
Portia's  character  the  splendor  of  Italian  skies  and  scenery 
and  art  is  reproduced ;  their  spirit  lives  in  her  imagination 
and  suffuses  all  she  does  and  says. 

Shylock 

If  Portia  is  the  beauty  of  this  play,  Shylock  is  its  strength. 
In  the  delineation  of  the  Jew  Shakespeare  had  to  fill  with 
individual  life  and  peculiarity  the  broad,  strong  outlines  of 
national  character  in  its  most  revolting  form.  Shylock  is  a 
true  representative  of  his  nation ;  wherein  we  have  a  pride 
which  for  ages  never  ceased  to  provoke  hostility,  but  which 
no  hostility  could  ever  subdue,  a  thrift  which  still  invited 
rapacity,  but  which  no  rapacity  could  ever  exhaust,  and  a 
weakness  which,  while  it  exposed  the  subjects  to  wrong, 
only  deepened  their  hate,  because  it  kept  them  without  the 


xxxvi    THE   NEW  HUDSON  SHAKESPEARE 

means  or  the  hope  of  redress.  Thus  Shylock  is  a  type  of 
national  sufferings,  national  sympathies,  national  antipathies. 
Himself  an  object  of  bitter  insult  and  scorn  to  those  about 
him,  surrounded  by  enemies  whom  he  is  at  once  too  proud 
to  conciliate  and  too  weak  to  oppose,  he  can  have  no  life 
among  them  but  money,  no  hold  on  them  but  interest,  no 
feeling  toward  them  but  hate,  no  indemnity  out  of  them 
but  revenge.  What  wonder  that  the  elements  of  national 
greatness  became  congealed  and  petrified  into  malignity? 
As  avarice  was  the  passion  in  which  he  mainly  lived,  the 
Christian  virtues  that  thwarted  this  naturally  seemed  to 
him  the  greatest  of  wrongs. 

With  these  strong  national  traits  are  interwoven  personal 
traits  equally  strong.  Thoroughly  and  intensely  Jewish,  he 
is  not  more  a  Jew  than  he  is  Shylock.  In  his  hard,  icy 
intellectuality,  and  his  dry,  mummylike  tenacity  of  purpose, 
with  a  dash  now  and  then  of  biting  sarcastic  humor,  we  see 
the  remains  of  a  great  and  noble  nature,  out  of  which  all 
the  genial  sap  of  humanity  has  been  pressed  by  accumulated 
injuries.  With  as  much  elasticity  of  mind  as  stiffness  of 
neck,  every  step  he  takes  but  the  last  is  as  firm  as  the  earth 
he  treads  upon.  Nothing  can  daunt,  nothing  disconcert 
him ;  remonstrance  cannot  move,  ridicule  cannot  touch, 
obloquy  cannot  exasperate  him  ;  when  he  has  not  provoked 
them,  he  has  been  forced  to  bear  them ;  and  now  that  he 
does  provoke  them,  he  is  hardened  against  them.  He  may 
be  broken ;  he  cannot  be  bent. 

Shylock  is  great  in  every  scene  where  he  appears,  yet 
each  later  scene  exhibits  him  in  a  new  element  or  aspect 
of  greatness.  As  soon  as  the  dramatist  has  set  forth  one 
side  or  phase  of  his  character,  he  forthwith  dismisses  that 


INTRODUCTION  xxxvii 

and  proceeds  to  another.  For  example,  the  Jew^s  cold  and 
penetrating  sagacity,  as  also  his  malignant  and  remorseless 
guile,  are  effectively  shown  in  the  scene  with  Antonio  and 
Bassanio,  where  he  is  first  solicited  for  the  loan.  And  the 
strength  and  vehemence  of  passion,  which  underlies  these 
qualities,  is  still  better  displayed,  if  possible,  in  the  scene 
with  Antonio's  two  friends,  Salanio  and  Salarino,  where 
Shylock  first  avows  his  purpose  of  exacting  the  forfeit- 
ure. One  passage  of  this  scene  has  a  peculiarly  idio- 
matic strain  of  eloquence,  steeped  in  a  mixture  of  gall  and 
pathos  : 

He  hath  disgraced  me,  and  hinder'd  me  half  a  million ;  laugh'd 
at  my  losses,  mock'd  at  my  gains,  scorn'd  my  nation,  thwarted  my 
bargains,  cool'd  my  friends,  heated  mine  enemies;  and  what's  his- 
reason  ?  I  am  a  Jew.  Hath  not  a  Jew  eyes  ?  hath  not  a  Jew  hands^ 
organs,  dimensions,  senses,  affections,  passions  ?  fed  with  the  same 
food,  hurt  with  the  same  weapons,  subject  to  the  same  diseases^ 
heal'd  by  the  same  means,  warm'd  and  cool'd  by  the  same  winter 
and  summer,  as  a  Christian  is  ?  If  you  prick  us,  do  we  not  bleed  ? 
if  you  tickle  us,  do  we  not  laugh  ?  if  you  poison  us,  do  we  not  die  ?* 
and  if  you  wrong  us,  shall  we  not  revenge  ?  if  we  are  like  you  in  the 
rest,  we  will  resemble  you  in  that.  If  a  Jew  wrong  a  Christian,  what 
is  his  humility }  Revenge.  If  a  Christian  wrong  a  Jew,  what  should 
his  sufferance  be  by  Christian  example  ?  Why,  revenge.  The  villainy 
you  teach  me,  I  will  execute ;  and  it  shall  go  hard  but  I  will  better 
the  instruction.    [Ill,  i,  47-63.] 

National  and  individual  traits  in  Shylock  are  so  attem- 
pered and  fused  together  that  we  cannot  distinguish  their 
respective  influence.  Even  his  avarice  has  a  smack  of 
patriotism.  Money  is  the  only  defense  of  his  brethren  as 
well  as  of  himself,  and  he  craves  it  for  their  sake  as  well  as 
his  own ;  he  feels  indeed  that  wrongs  are  offered  to  them 


xxxviii    THE  NEW  HUDSON  SHAKESPEARE 

in  him,  and  to  him  in  them.  Antonio  has  scorned  his  reli- 
gion, balked  him  of  usurious  gains,  insulted  his  person : 
therefore  he  hates  him  as  a  Christian,  himself  a  Jew ;  hates 
him  as  a  lender  of  money  gratis,  himself  a  griping  usurer; 
hates  him  as  Antonio,  himself  Shylock.  And  who  but  a 
Christian,  one  of  Antonio's  faith  and  fellowship,  has  stolen 
away  his  daughter's  heart,  and  drawn  her  into  revolt,  loaded 
with  his  ducats  and  his  precious,  precious  jewels? 

His  religion,  his  patriotism,  his  avarice,  his  affection,  all 
unite  to  stimulate  his  enmity;  and  his  personal  hate  thus 
reenforced  overcomes  for  once  his  greed,  and  he  grows 
generous  in  the  prosecution  of  his  aim.  The  only  reason  he 
will  vouchsafe  for  taking  the  pound  of  flesh  is,  "  if  it  will 
feed  nothing  else,  it  will  feed  my  revenge";  a  reason  all 
the  more  satisfactory  to  him,  in  that  those  to  whom  he  gives 
it  can  neither  allow  it  nor  refute  it ;  and  until  they  can  rail 
the  seal  from  off  his  bond,  all  their  railings  are  but  a  fore- 
taste of  the  revenge  he  seeks.  In  his  eagerness  to  taste 
that  morsel,  sweeter  to  him  than  all  the  luxuries  of  Italy,  his 
recent  afflictions,  the  loss  of  his  daughter,  his  ducats,  his 
jewels,  and  even  the  precious  ring  given  him  by  his  departed 
wife,  all  fade  from  his  mind.  In  his  inexorable  and  imper- 
turbable hardness  at  the  trial  there  is  something  that  makes 
the  blood  to  tingle.  It  is  the  sublimity  of  malice.  We  feel 
that  the  yearnings  of  revenge  have  silenced  all  other  cares 
and  all  other  thoughts.  In  his  rapture  of  hate  the  man  has 
grown  superhuman,  and  his  eyes  seem  all  aglow  with  preter- 
natural malignity.  Fearful,  however,  as  is  his  passion,  he 
comes  not  off  without  moving  our  pity.  In  the  very  act 
whereby  he  thinks  to  avenge  his  own  and  his  brethren's 
wrongs,  the  national  curse  overtakes  him.    In  standing  up 


INTRODUCTION  xxxix 

for  the  letter  of  the  law  against  all  the  pleadings  of  mercy, 
he  has  strengthened  his  enemies*  hands,  and  sharpened 
their  weapons,  against  himself ;  and  the  terrible  Jew  sinks 
at  last  into  the  poor,  pitiable,  heartbroken  Shylock. 

Early  in  the  play,  when  Shylock  is  bid  forth  to  Bassanio's 
supper,  and  Launcelot  urges  him  to  go,  because  "  my  young 
master  doth  expect  your  reproach,"  Shylock  replies,  "So 
do  I  his."  Of  course  he  expects  the  reproach  through  the 
bankruptcy  of  Antonio.  This  would  seem  to  infer  that  Shy- 
lock has  some  hand  in  getting  up  the  reports  of  Antonio's 
"losses  at  sea,"  some  of  which  turn  out  false  in  the  end. 
Further  than  this,  the  poet  leaves  us  in  the  dark  as  to  how 
those  reports  grew  into  being  and  gained  belief.  Did  he 
mean  to  have  it  understood  that  the  Jew  exercised  his 
cunning  and  malice  in  plotting  and  preparing  them?  It 
appears  that  Shylock  knew  they  were  coming  before  they 
came.  The  natural  impression  from  the  play  is  that  he 
lent  the  ducats  and  took  the  bond,  on  a  mere  chance  of 
coming  at  his  wish.  But  he  would  hardly  grasp  so  eagerly 
at  a  bare  possibility  of  revenge,  without  using  means  to  turn 
it  into  something  more.  This  would  mark  him  with  much 
deeper  lines  of  guilt.  Why,  then,  did  not  Shakespeare  bring 
the  matter  forward  more  prominently?  Perhaps  it  was 
because  the  doing  so  would  have  made  Shylock  appear  too 
deep  a  criminal  for  the  degree  of  interest  which  his  part 
was  meant  to  carry  in  the  play.  In  other  words,  the  health 
of  the  drama  as  a  work  of  comic  art  required  his  criminality 
to  be  kept  in  the  background.  He  comes  very  near  over- 
shadowing the  other  characters  too  much,  as  it  is.  And 
Shylock*s  character  is  essentially  tragic ;  there  is  none  of 
the  proper  timber  of  comedy  in  him. 


xl  THE  NEW  HUDSON  SHAKESPEARE 

IX.    CONCLUSION 

The  Merchant  of  Venice  is  justly  distinguished  among 
Shakespeare's  dramas,  not  only  for  the  general  felicity  of 
the  language,  but  also  for  the  beauty  of  particular  scenes 
and  passages.  For  descriptive  power,  the  opening  scene  of 
Antonio  and  his  friends  is  not  easily  rivaled,  and  can  hardly 
fail  to  live  in  the  memory  of  any  one  having  an  eye  for 
such  things.  Equally  fine  in  its  way  is  the  scene  of  Tubal 
and  Shylock,  where  the  latter  is  so  torn  with  the  struggle  of 
conflicting  passions  ;  his  heart  now  sinking  with  grief  at  the 
account  of  his  fugitive  daughter's  expenses,  now  leaping 
with  malignant  joy  at  the  report  of  Antonio's  losses.  The 
trial  scene,  with  its  tugging  vicissitudes  of  passion,  and  its 
hush  of  terrible  expectation  — now  ringing  with  the  Jew's 
sharp,  spiteful  snaps  of  malice,  now  made  musical  with 
Portia's  strains  of  eloquence,  now  holy  with  Antonio's  tender 
breathings  of  friendship,  and  dashed,  from  time  to  time,  with 
Gratiano's  fierce  jets  of  wrath,  and  fiercer  jets  of  mirth  — 
is  hardly  surpassed  in  tragic  power  anywhere;  and  as  it 
forms  the  catastrophe  proper,  so  it  concentrates  the  inter- 
est of  the  whole  play.  Scarcely  inferior  in  its  kind  is  the 
night  scene  of  Lorenzo  and  Jessica,  bathed  as  it  is  in  love, 
moonlight,  "  touches  of  sweet  harmony,"  and  soul-lifting  dis- 
course, followed  by  the  grave  moral  reflections  of  Portia,  as 
she  approaches  her  home,  and  sees  its  lights  and  hears  its 
music.  The  bringing  in  of  this  passage  of  ravishing  lyrical 
sweetness,  so  replete  with  the  most  soothing  and  tranquil- 
izing  effect,  close  upon  the  intense  dramatic  excitement  of 
the  trial  scene,  is  such  a  transition  as  we  shall  hardly  meet 
with  but  in  Shakespeare,  and  shows  his  mastery  of  the  mind's 


INTRODUCTION  xli 

capacity  of  delight.  The  affair  of  the  rings,  with  the  harm- 
less perplexities  growing  out  of  it,  is  a  well-managed  device 
for  letting  the  mind  down  from  the  tragic  height  whereon  it 
lately  stood  to  the  merry  conclusion  which  the  play  requires. 
Critics  indeed  may  easily  quarrel  with  this  sportive  after- 
piece ;  but  it  stands  approved  by  the  tribunal  to  which  crit- 
icism itself  must  bow  —  the  spontaneous  feelings  of  such  as 
are  willing  to  be  made  cheerful  and  healthy,  without  beat- 
ing their  brains  about  the  how  and  wherefore. 

What  a  wide  diversity  of  materials  this  play  reconciles 
and  combines  !  One  can  hardly  realize  how  many  things 
are  here  brought  together,  they  are  ordered  in  such  perfect 
concert  and  harmony.  The  greatness  of  the  work  is  thus 
hidden  in  its  fine  proportions.  In  many  of  Shakespeare's 
dramas  we  are  surprised  at  the  great  variety  of  character : 
here,  besides  this,  we  have  a  remarkable  variety  of  plot. 
And,  admirable  as  may  be  the  skill  displayed  in  the  charac- 
ters individually  considered,  the  interweaving  of  so  many 
several  plots,  without  the  least  confusion  or  embarrassment, 
evinces  a  still  higher  mastership.  For,  many  and  various 
as  are  the  forms  and  aspects  of  life  here  shown,  they  all 
emphatically  live  together,  as  if  they  all  had  but  one  vital 
circulation. 


ABBREVIATIONS  USED  IN  THE  NOTES 

Qi  =  First  Quarto,  1600. 
Q2  =  Second  Quarto,  i6oa 
Qs  =  Third  Quarto,  1637. 
Q4  =  Fourth  Quarto,  1652. 
Qq  =  all  the  Quartos  from  1600  to  1652. 
Fi  =  First  Folio,  1623. 
F2  =  Second  Folio,  1632. 
Fs  =  Third  Folio,  1664. 
F4  =  Fourth  Folio,  1685. 
Ff  =  all  the  seventeenth  century  Folios. 
Rowe  =  Rowe's  editions,  1709,  1714. 
Pope  =  Pope's  editions,  1723,  1728. 
Johnson  =  Johnson's  edition,  1765. 

Camb  =  Cambridge  edition  (W.  A.  Wright),  1891. 
Clar  =  Clarendon  Press  edition  (Clark  and  Wright),  1869. 
Fumess  =  H.  H.  Fumess's  A  New  Variorum.    The  Merchant  of 

Venice,  1888. 
Abbott  =  E.  A.  Abbott's  A  Shakespearian  Grammar, 
Schmidt  =  Schmidt's  Shakespeare  Lexicon. 
Skeat  =  Skeat's  An  Etymological  Dictionary. 
Murray  =  A  New  English  Dictionary  {The  Oxford  Dictionary), 
Century  =  The  Century  Dictionary. 

Other  abbreviations  are  either  self-explanatory  or  such  as  are  in 
common  use. 


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xlvii 


THE  MERCHANT  OF  VENICE 


DRAMATIS  PERSON.^  1 

The  Duke  of  Venice. 

The  Prince  of  Morocco,  1      .  ^     . 

^        ^  .  ^suitors  to  Portia. 

The  Prince  of  Arragon,J 

Antonio,2  a  merchant  of  Venice. 

Bassanio,  his  friend,  suitor  likewise  to  Portia. 

Salanio,^  "I 

Salarino,  I  friends  to  Antonio  and  Bassanio. 

Gratiano,  J 

Lorenzo,  in  love  with  Jessica. 

Shylock,  a  rich  Jew. 

Tubal,  a  Jew,  his  friend. 

Salerio,4 

Launcelot  Gobbo,  the  clown,  servant  to  Shylock. 

Old  Gobbo,  father  to  Launcelot. 

Leonardo,  servant  to  Bassanio. 

BaLTH ASAR,  "1  ^ 

^  i- servants  to  Portia. 

Stephano,   J 

Portia,  a  rich  heiress. 
Nerissa,  her  waiting-maid.^ 
Jessica,  daughter  to  Shylock. 

Magnificoes  of  Venice,  Officers  of  the  Court  of  Justice,  Jailer, 
Servants  to  Portia,  and  other  Attendants. 

Scene  :  Partly  at  Venice^  and  partly  at  Belmont^  the  seat  of  Portia^ 
on  the  Continent. 

1  Dramatis  PERSONiE.  Under  the  title  The  Actors  Names  a  list  of 
Dramatis  Personae  is  given  in  Qs.  The  list  given  above  is  based  upon 
Howe's. 

2  Antonio  I  Anthonio  QqFf. 

8  Salanio,  Salarino  i  QqFf  have  such  spellings  as  Solanio,   Salino, 
Salaryno,  Salerino,  Slarino,  Solarino,  with  varying  abbreviations. 
4  Salerio.    See  note,  p.  86, 1.  214. 
6  her  waiting-maid  1  her  wayting  Gentlewoman  Qs* 


ACT  I 

Scene  I.     Venice.    A  street 

Enter  Antonio,  Salarino,  and  Salanio 

Antonio.    In  sooth,  I  know  not  why  I  am  so  sad : 
It  wearies  me ;  you  say  it  wearies  you ; 
But  how  I  caught  it,  found  it,  or  came  by  it, 
What  stuff  't  is  made  of,  whereof  it  is  born, 
I  am  to  learn ;  S 

And  such  a  want-wit  sadness  makes  of  me 
That  I  have  much  ado  to  know  myself. 

Salarino.    Your  mind  is  tossing  on  the  ocean ; 
There,  where  your  argosies  with  portly  sail. 
Like  signiors  and  rich  burghers  on  the  flood,  lo 

Act  I.   In   Qq   no  division  into  5-6.  Printed  as  one  line  in  QiQ2Ff. 

Acts  or  Scenes ;  in  Ff  into  Acts  only ;  8.  Salarino    Q1Q2  I   Salanio 

in  Rowe  first  division  into  Scenes.  (Sal.)  Ff  and  so  to  1.  56. 

I.  sooth :  truth.    See  Skeat. 

3.  came  by  it.    *  To  come  by '  a  thing  is  to  get  possession  of  it, 
to  acquire  it.    Cf.  I,  ii,  8.     This  expression  is  still  used  colloquially. 
5.  I  am  to  learn.    See  Abbott,  §  405. 

9.  argosies :  large  merchant  vessels  usually  carrying  rich  freight. 
The  word  is  probably  derived  from  *  Ragusa,'  though  some  authorities 
(Skeat,  Clark,  Wright)  connect  it  with  the  classical  *  Argo.'  It  occurs 
four  times,  in  the  singular,  in  the  first  scene  of  Marlowe's  The  Jew 
of  Malta, 

10.  signiors.  Shakespeare  uses  the  word  *  signior '  in  the  sense  of 
*  lord '  or '  gentleman,*  and  occasionally,  as  in  Much  Ado  About  Nothing 
and  Othello^  as  a  title  of  customary  address. — burghers :  citizens,  free- 
men of  a  burgh.  In  As  You  Like  It,  II,  i,  23,  the  deer  in  the  Forest 
of  Arden  are  described  as  "  native  burghers  of  this  desert  city." 

3 


4  THE  NEW  HUDSON  SHAKESPEARE      act  i 

Or,  as  it  were,  the  pageants  of  the  sea, 
Do  overpeer  the  petty  traffickers. 
That  curtsy  to  them,  do  them  reverence. 
As  they  fly  by  them  with  their  woven  wings. 

Salanio.    Believe  me,  sir,  had  I  such  venture  forth,      15 
The  better  part  of  my  affections  would 
Be  with  my  hopes  abroad.    I  should  be  still 
Plucking  the  grass,  to  know  where  sits  the  wind. 
Peering  in  maps  for  ports,  and  piers,  and  roads ; 
And  every  object  that  might  make  me  fear  20 

Misfortune  to  my  ventures,  out  of  doubt 
Would  make  me  sad. 

Salarino.  My  wind,  cooling  my  broth, 

Would  blow  me  to  an  ague,  when  I  thought 
What  harm  a  wind  too  great  might  do  at  sea. 
I  should  not  see  the  sandy  hour-glass  run,  25 

But  I  should  think  of  shallows  and  of  flats, 

19.  Peering  Fi  I  prying  Q3Q4.  —  24.  might  do  at  sea  Q2Ff Q3Q4 

and  piers  Fi  |  for  piers  Qi.  I  at  sea,  might  do  Qi. 

II.  pageants.  These  were  originally  the  high  stages,  or  scaffolds, 
usually  on  wheels,  on  which  miracle  plays  and  shows  of  various 
kinds  were  given ;  then  the  plays  or  shows  themselves. 

13.  curtsy.  "Suggested  by  the  rocking,  ducking  motion  in  the 
petty  traffiquers  caused  by  the  wake  of  the  argosie  as  it  sails  past 
them." —  Fumess. 

15.  venture :  what  is  risked  —  exposed  to  "  the  perils  of  waters, 
winds,  and  rocks."  —  forth.  In  Shakespeare  and  in  Elizabethan 
literature  •  forth'  is  often  used  in  the  sense  of  *  out,'  without  any 
verb  of  motion.    See  Abbott,  §  41. 

17.  still:  continually.    Cf.  Fr.  toujours. 

18.  "  Take  a  straw  and  throw  it  up  into  the  air,  —  you  may  see  by 
that  which  way  the  wind  is.*' — Selden's  Table-talk.  Country  folks 
often  hold  long  grass  in  the  air  to  learn  the  wind  direction. 


SCENE  I         THE   MERCHANT  OF  VENICE  5 

And  see  my  wealthy  Andrew  docks  in  sand, 

Vailing  her  high  top  lower  than  her  ribs 

To  kiss  her  burial.    Should  I  go  to  church, 

And  see  the  holy  edifice  of  stone,  30 

And  not  bethink  me  straight  of  dangerous  rocks. 

Which,  touching  but  my  gentle  vessel's  side. 

Would  scatter  all  her  spices  on  the  stream, 

Enrobe  the  roaring  waters  with  my  silks ; 

And,  in  a  word,  but  even  now  worth  this,  35 

And  now  worth  nothing?    Shall  I  have  the  thought 

To  think  on  this ;  and  shall  I  lack  the  thought, 

27.  docks  QqFf  |  dock'd  Rowe.  36.  nothing  ?  Qi  |  nothing.  Q2Ff . 

33.  her  Fi  I  the  Qi. 

27.  Andrew.  The  name  of  the  ship  given  in  honor  either  of  St. 
Andrew,  or,  as  is  more  probable,  of  Andrea  Doria  (died  1560),  the 
famous  admiral  of  Genoa. — docks.    More  vivid  than  Rowe's  '  dock'd.* 

28.  The  image  is  of  a  ship  tilted  over  on  one  side,  the  other  side 
in  the  air,  and  the  topmast  down  in  the  sand.  —  Vailing  :  lowering, 
Marlowe  uses  this  verb  (Fr.  avaler^  Lat.  ad  valleni)  twice  in  The  Jew 
of  Malta^  —  transitively  (V,  iii,  i)  : 

Calymath.  Now  vail  your  pride,  you  captive  Christians, 
And  kneel  for  mercy  to  your  conquering  foe ; 

intransitively  (II,  ii,  11) : 

Del  Bosco.  Our  fraught  is  Grecians,  Turks,  and  Afric  Moors, 
For  late  upon  the  coast  of  Corsica, 
Because  we  vailed  not  to  the  Turkish  fleet, 
Their  creeping  galleys  had  us  in  the  chase. 

33,  34.  These  graphic  figures  are  reproduced  by  Scott  in  Ivankoe, 
Chapter  X,  where  Isaac  recounts  to  Rebecca  his  perils  and  losses 
in  the  Gulf  of  Lyons. 

35.  Lettsom  conjectures  that  a  line  has  been  lost  here,  but  the 
meaning  becomes  clear  if  the  actor  makes  a  gesture  indicating 
bulk  or  largeness.  Shakespeare  often  leaves  his  meaning  to  be 
interpreted  in  this  way. 


6  THE  NEW  HUDSON  SHAKESPEARE      act  I 

That  such  a  thing  bechanc'd  would  make  me  sad? 

But  tell  not  me ;  I  know,  Antonio 

Is  sad  to  think  upon  his  merchandise.  40 

Antonio.    Believe  me,  no  :  I  thank  my  fortune  for  it, 
My  ventures  are  not  in  one  bottom  trusted. 
Nor  to  one  place ;  nor  is  my  whole  estate 
Upon  the  fortune  of  this  present  year : 
Therefore  my  merchandise  makes  me  not  sad.  45 

Salarino.    Why,  then  you  are  in  love. 

Antonio.  Fie,  fie  ! 

Salarino.    Not  in  love  neither.  Then  let  us  say  you  are  sad, 
Because  you  are  not  merry ;  and  't  were  as  easy 
For  you  to  laugh,  and  leap,  and  say  you  are  merry. 
Because  you  are  not  sad.    Now,  by  two-headed  Janus,       50 
Nature  hath  fram'd  strange  fellows  in  her  time  : 
Some  that  will  evermore  peep  through  their  eyes, 
And  laugh  like  parrots  at  a  bag-piper ; 
And  other  of  such  vinegar  aspect, 

46.  Salarino  (Salar.)  Qi  |  Sala-  47.  neither:  Q2F1Q3Q4  I  neither? 

nio  (Sola.)  Q2Ff.  Qi  |  neither !  F2. 

42.  bottom  :   merchant  ship. 

46.  Dyce  says  :  "  I  have  little  doubt  that  Shakespeare  wrote,  */« 
love  !  fie,  fie  ! '  "    This  would  make  a  normal  blank  verse  line. 

50.  Janus,  as  the  ancient  Italian  god  who  represents  the  spirit  of 
opening  —  the  opening  day,  the  opening  year  {Ja7iu-2iYy) — was  the 
tutelary  deity  of  gates  and  archways.  As  every  gate  looks  two 
ways,  Janus  was  often  represented  with  a  double  face,  one  on  either 
side  of  his  head.  Occasionally  a  grave  face  would  be  associated 
with  a  laughing  one;  hence  the  peculiar  propriety  and  significance 
of  '  two-headed '  in  Salarino's  oath. 

54.  other.  An  old  plural  form  found  often  in  Middle  and  Eliza- 
bethan English,  the  result  of  the  final  e  dropping  away  from  othere 
{ptkre).    Ci.Job^  xxiv,  24;  The  Comedy  of  Errors^  IV,  iii,  5. 


SCENE  I         THE   MERCHANT  OF  VENICE  7 

That  they'll  not  show  their  teeth  in  way  of  smile,  55 

Though  Nestor  swear  the  jest  be  laughable. 

Enter  Bassanio,  Lorenzo,  and  Gratiano 

Salanio.    Here  comes  Bassanio,  your  most  noble  kins- 
man, 
Gratiano,  and  Lorenzo.    Fare  ye  well : 
We  leave  you  now  with  better  company. 

Salarino.    I   would   have  stay'd   till  I  had   made  you 
merry,  60 

If  worthier  friends  had  not  prevented  me. 

Antonio.    Your  worth  is  very  dear  in  my  regard. 
1  take  it,  your  own  business  calls  on  you, 
And  you  embrace  the  occasion  to  depart. 

Salarino.    Good  morrow,  my  good  lords.  65 

Bassanio.    Good  signiors  both,  when  shall  we  laugh? 
say,  when? 
You  grow  exceeding  strange  :  must  it  be  so  ? 

Salarino.    We'll  make  our  leisures  to  attend  on  yours. 

\_Exeunt  Salarino  and  Salanio] 

56.  Nestor  was  the  oldest  and  gravest  of  the  Greek  heroes  in  the 
Trojan  war.  The  severest  faces  might  justly  laugh  at  what  he 
should  pronounce  laughable. 

61.  prevented :  anticipated.  Often  so  in  the  Bible  (King  James 
version)  and  Book  of  Common  Prayer.  Words  derived  from  Latin 
and  Greek  are  almost  always  used  by  Shakespeare  and  Elizabethan 
writers  in  a  signification  peculiarly  close  to  the  root-notion  of  the 
word.  So  in  this  first  scene  of  the  play  we  have  '  mortifying '  (1.  82), 
In  the  sense  of  'causing  death/  and  'conceit'  (1.  92),  in  the  sense  of 
'thought,'  'understanding.' 

67.  exceeding  strange.  Compare  the  colloquial  expression,  "  You're 
quite  a  stranger." 


8  THE  NEW  HUDSON  SHAKESPEARE      act  i 

Lorenzo.  My  Lord  Bassanio,  since  you  have  found  Antonio, 
We  two  will  leave  you ;  but,  at  dinner-time,  7c 

I  pray  you,  have  in  mind  where  we  must  meet, 

Bassanio.    I  will  not  fail  you. 

Gratiano.    You  look  not  well,  Signior  Antonio ; 
You  have  too  much  respect  upon  the  world : 
They  lose  it  that  do  buy  it  with  much  care.  75 

Be.Heve  me,  you  are  marvellously  chang'd. 

Antonio.    I  hold  the  world  but  as  the  world,  Gratiano  ; 
A  stage,  where  every  man  must  play  a  part, 
And  mine  a  sad  one. 

Gratiano.  Let  me  play  the  fool : 

With  mirth  and  laughter  let  old  wrinkles  come ;  80 

And  let  my  Hver  rather  heat  with  wine 
Than  my  heart  cool  with  mortifying  groans. 
Why  should  a  man,  whose  blood  is  warm  within, 
Sit  like  his  grandsire  cut  in  alabaster? 
Sleep  when  he  wakes,  and  creep  into  the  jaundice  85 

By  being  peevish?    I  tell  thee  what,  Antonio, — 
I  love  thee,  and  it  is  my  love  that  speaks,  — 
There  are  a  sort  of  men  whose  visages 
Do  cream  and  mantle  like  a  standing  pond ; 
And  do  a  wilful  stillness  entertain,  90 

With  purpose  to  be  dressed  in  an  opinion 

78.  man  Q2FfQ3Q4  I  one  Qi.  89.  cream  Q2FfQ3Q4  I  dream  Qi. 
84.  alabaster  |  alablaster  QqFf. 

79.  play  the  fool:  act  the  part  of  a  jester.  Shakespeare  draws 
many  impressive  illustrations  from  the  trade  of  the  professional 
*fooP  —  so  important  a  character  in  the  old  comedies.  Cf.  Soruiets^ 
CXVI,  9;  2  He7iry  IV,  II,  ii,  154. 

82.  mortifying :  causing  death.    See  note,  p.  7,  1.  61. 
91.  opinion :  reputation.    So  also  in  1.  102. 


SCENE  I         THE   MERCHANT  OF  VENICE  9 

Of  wisdom,  gravity,  profound  conceit ; 

As  who  should  say,  *  I  am  Sir  Oracle, 

And  when  I  ope  my  lips,  let  no  dog  bark !  * 

0  my  Antonio,  I  do  know  of  these,  95 
That  therefore  only  are  reputed  wise 

For  saying  nothing ;  when,  I  am  very  sure, 

If  they  should  speak,  would  almost  damn  those  ears, 

Which,  hearing  them,  would  call  their  brothers  fools. 

1  '11  tell  thee  more  of  this  another  time  :  100 
But  fish  not,  with  this  melancholy  bait, 

For  this  fool  gudgeon,  this  opinion. 

93.  am  Sir  Qq  |  am  Sir  an  Ff.  97.  when  QqFf  I  who  Rowe. 

95.  these  Q2FfQ3Q4  I  those  Qi.  98.  damn  F4  1  dam  Q1Q2F1. 

92.  conceit:  though tfulness.    See  note,  p.  7,  1.  61. 

93.  As  who  should  say.  Abbott,  §257. —  Sir  Oracle:  one  who 
thinks  himself  possessed  of  oracular  or  prophetic  wisdom,  a  wise- 
acre. With  regard  to  the  expression  compare  Sir  Valour  in  Troilus 
and  Cressida^  I,  iii,  176,  Sir  Prudence  in  The  Tempest^  II,  i,  286,  and 
Sir  Smile  in  The  Winter^ s  Tale,  I,  ii,  196. 

97.  Rowe  substituted  '  who'  for  *when,'  thus  furnishing  an  obvious 
nominative  for  'would'  in  the  following  line,  but  in  Shakespeare 
and  other  Elizabethan  writers  the  nominative  is  often  omitted  when 
the  meaning  is  clear  without  it. 

99.  Referring  to  the  judgment  pronounced  in  the  Gospel  against 
him  who  says  to  his  brother,  "  Thou  fool."  The  meaning  obviously 
is,  that  if  those  who  "only  are  reputed  wise  for  saying  nothing" 
should  go  to  talking,  they  would  be  apt  to  damn  their  hearers  by 
provoking  them  to  utter  this  reproach.  A  thing  is  often  said  to  *do' 
that  which  it  any  way  *  causes  to  be  done.'  In  Shakespeare  are 
many  instances  of  such  usage,  as  in  Hamlet,  III,  iv,  42.  So  in  the 
text,  '  damn'  is  a  causative  verb,  and  the  meaning  is — would  almost 
cause  those  hearers  to  be  damned. 

loi,  102.  Do  not  bait  your  hook  with  this  melancholy  to  catch 
this  worthless  fish.  '  Gudgeon'  is  the  name  of  a  small  fish  very  easily 
caught,  which  none  but  fools  would  care  to  catch. 


lO  THE   NEW  HUDSON   SHAKESPEARE      act  i 

Come,  good  Lorenzo.    Fare  ye  well  awhile  : 
I  '11  end  my  exhortation  after  dinner. 

Lorenzo.  Well,  we  will  leave  you,  then,  till  dinner-time.  105 
I  must  be  one  of  these  same  dumb  wise  men. 
For  Gratiano  never  lets  me  speak. 

Gratiano.  Well,  keep  me  company  but  two  years  moe, 
Thou  shalt  not  know  the  sound  of  thine  own  tongue. 

Antonio.    Farewell :  I  '11  grow  a  talker  for  this  gear.   110 

Gratiano.    Thanks,  i'  faith ;  for  silence  is  only  com- 
mendable 
In  a  neat's  tongue  dried,  and  a  maid  not  vendible. 

\_Exeunt  Gratiano  and  Lorenzo] 

Antonio.    Is  that  any  thing  now? 

Bassanio.  Gratiano  speaks  an  infinite  deal  of  nothing, 
more  than  any  man  in  all  Venice.  His  reasons  are  as  two 
grains  of  wheat  hid  in  two  bushels  of  chaff :  you  shall  seek 
all  day  ere  you  find  them ;  and  when  you  have  them,  they 
are  not  worth  the  search.  118 

Antonio.    Well,  tell  me  now,  what  lady  is  the  same 
To  whom  you  swore  a  secret  pilgrimage,  120 

That  you  to-day  promis'd  to  tell  me  of? 

Bassanio.    'T  is  not  unknown  to  you,  Antonio, 
How  much  I  have  disabled  mine  estate, 

108.  moe  (mo)  QqFf  |  more  Rowe.  115.  as  omitted  in  Ff. 

113.  Is  that  Rowe's  emendation  121.  of  ?  Ff  |  of.  Qq. 

I  It  is  that  QqFf. 

108.  moe.  So  read  the  Quartos  and  Folios;  Rowe  substituted 
*  more.*  Scholars  find  a  distinction  in  Middle  English  between  the 
two  forms, —  *mo,'  or  'moe,'  being  used  of  number  and  with  collec- 
tive nouns,  *  more  '  having  reference  specifically  to  size. 

no.  gear.  A  word  of  wide,  general  import,  often  used  of  any 
business  or  affair  in  hand. 


SCENE  I         THE   MERCHANT  OF  VENICE  II 

By  something  showing  a  more  swelling  port 

Than  my  faint  means  would  grant  continuance  :  125 

Nor  do  I  now  make  moan  to  be  abridg'd 

From  such  a  noble  rate ;  but  my  chief  care 

Is,  to  come  fairly  off  from  the  great  debts, 

Wherein  my  time,  something  too  prodigal, 

Hath  left  me  gag'd.    To  you,  Antonio,  130 

I  owe  the  most,  in  money  and  in  love ; 

And  from  your  love  I  have  a  warranty 

To  unburthen  all  my  plots  and  purposes 

How  to  get  clear  of  all  the  debts  I  owe. 

Antonio.    I  pray  you,  good  Bassanio,  let  me  know  it;  135 
And  if  it  stand,  as  you  yourself  still  do. 
Within  the  eye  of  honour,  be  assur'd. 
My  purse,  my  person,  my  extremest  means. 
Lie  all  unlock'd  to  your  occasions. 

Bassanio.  In  my  school-days,  when  I  had  lost  one  shaft,  140 
I  shot  his  fellow  of  the  selfsame  flight 

126.  "  To  was  originally  used  not  with  the  infinitive  but  with  the 
gerund  in  -^,  and  denoted  a  purpose.  Gradually,  as  to  superseded 
the  proper  infinitival  inflection,  to  was  used  in  other  and  more  indefi- 
nite senses."  —  Abbott. 

130.  gag'd:  pledged.    So  in  i  Henry  IV,  I,  iii,  172,  173  : 

That  men  of  your  nobility  and  power 
Did  gage  them  both  in  an  unjust  behalf. 

137.  Within  the  eye  of  honour :  within  the  range  of  what  may  be 
regarded  as  honorable.     Cf.  The  Whiter^ s  Tale,  III,  ii,  52. 

141.  his.  Theform'its' was  just  creeping  into  use  in  Shakespeare's 
day.  It  does  not  occur  once  in  the  Bible  (King  James  version)  as 
originally  printed.  —  Arrows  were  of  various  lengths,  weights,  and 
featherings  for  different  ranges,  and  *  flight'  seems  to  have  been  a  tech- 
nical expression  in  archery  with  reference  to  range.  A  *  shaft  of  the 
selfsame  flight '  means  an  arrow  made  for  shooting  the  same  distance. 


12  THE  NEW  HUDSON   SHAKESPEARE      act  i 

The  selfsame  way  with  more  advised  watch, 

To  find  the  other  forth ;  and,  by  adventuring  both, 

I  oft  found  both.    I  urge  this  childhood  proof, 

Because  what  follows  is  pure  innocence.  145 

I  owe  you  much ;  and,  like  a  wilful  youth, 

That  which  I  owe  is  lost :  but,  if  you  please 

To  shoot  another  arrow  that  self  way 

Which  you  did  shoot  the  first,  I  do  not  doubt. 

As  I  will  watch  the  aim,  or  to  find  both,  150 

Or  bring  your  latter  hazard  back  again, 

And  thankfully  rest  debtor  for  the  first. 

Antonio.    You  know  me  well;  and  herein  spend  but 
time 
To  wind  about  my  love  with  circumstance ; 
And  out  of  doubt  you  do  me  now  more  wrong  155 

In  making  question  of  my  uttermost. 
Than  if  you  had  made  waste  of  all  I  have  : 
Then  do  but  say  to  me  what  I  should  do, 
That  in  your  knowledge  may  by  me  be  done. 
And  I  am  prest  unto  it :  therefore,  speak.  160 

Bassanio.    In  Belmont  is  a  lady  richly  left ; 
And  she  is  fair,  and,  fairer  than  that  word, 

155.  do  me  now  Qq  |  do  to  me  F2F3F4  1  do  Fi. 

143.  forth:  out.    See  note,  p.  4,  1.  15. 

144.  childhood  proof :  childish  instance  or  experiment.  Similarly, 
"childhood  innocence"  in  A  Midstcmmer  Nighfs  Dream^  III,  ii,  202. 

146.  wilful.  Warburton  suggested  'witless,'  and  Collier  'wasteful,* 
as  substitutes  for  '  wilful,'  but  the  text  needs  no  emendation. 

154.  circumstance-,  circumlocution.  Cf.  The  Comedy  of  ErrorSyV, 
i,  19;    Two  Gentleinen  of  Verona^  I,  i,  40 ;  Hamlety  I,  v,  127. 

160.  prest:  ready  {Yr. pr^ty  L,3.t. praesio). 

162.  She  is  beautiful  and  has  what  is  better  than  beauty. 


SCENE  I         THE   MERCHANT  OF  VENICE  I3 

Of  wondrous  virtues  :  sometimes  from  her  eyes 

I  did  receive  fair  speechless  messages. 

Her  name  is  Portia ;  nothing  undervalued  165 

To  Cato*s  daughter,  Brutus*  Portia : 

Nor  is  the  wide  world  ignorant  of  her  worth ; 

For  the  four  winds  blow  in  from  every  coast 

Renowned  suitors ;  and  her  sunny  locks 

Hang  on  her  temples  like  a  golden  fleece ;  170 

Which  makes  her  seat  of  Belmont  Colchos'  strand, 

And  many  Jasons  come  in  quest  of  her. 

0  my  Antonio,  had  I  but  the  means 
To  hold  a  rival  place  with  one  of  them, 

1  have  a  mind  presages  me  such  thrift,  175 
That  I  should  questionless  be  fortunate. 

Antonio.    Thou  know'st  that  all  my  fortunes  are  at  sea ; 
Neither  have  I  money,  nor  commodity. 
To  raise  a  present  sum  :  therefore  go  forth ; 
Try  what  my  credit  can  in  Venice  do  :  180 

That  shall  be  racked,  even  to  the  uttermost, 
To  furnish  thee  to  Belmont,  to  fair  Portia. 
Go,  presently  inquire,  and  so  will  I, 
Where  money  is ;  and  I  no  question  make, 
To  have  it  of  my  trust,  or  for  my  sake.  [^Exfun/]  185 

X7X,  strand  Johnson  |  strond  QqFf.        172.  come  Q2FfQ3Q4  I  comes  Qi. 

163.  *  Sometimes  *  and  *  sometime  *  were  used  indifferently,  and 
often,  as  here,  in  the  sense  of  'formerly,*  or  *  former.' 

165.  nothing  undervalu'd :  not  at  all  inferior  in  value.  So,  later 
in  this  play  (II,  vii,  53),  we  have  "ten  times  undervalu'd  to  tried 
gold."     And  '  nothing '  as  a  strong  negative  is  very  common. 

178.  commodity:  merchandise,  anything  that  might  be  pledged  as 
security  for  a  loan,  collateral. 


14  THE   NEW  HUDSON  SHAKESPEARE      act  i 

Scene  II.    Belmont.    A  room  in  Portia's  house 
Enter  Portia  and  Nerissa 

Portia.  By  my  troth,  Nerissa,  my  little  body  is  aweary 
of  this  great  world. 

Nerissa.  You  would  be,  sweet  madam,  if  your  miseries 
were  in  the  same  abundance  as  your  good  fortunes  are  : 
and  yet,  for  aught  I  see,  they  are  as  sick  that  surfeit  with 
too  much,  as  they  that  starve  with  nothing.  It  is  no  mean 
happiness,  therefore,  to  be  seated  in  the  mean  :  superfluity 
comes  sooner  by  white  hairs,  but  competency  lives  longer. 

Portia.    Good  sentences,  and  well  pronounc'd.  9 

Nerissa.    They  would  be  better,  if  well  follow'd. 

Portia.  If  to  do  were  as  easy  as  to  know  what  were 
good  to  do,  chapels  had  been  churches,  and  poor  men's 
cottages  princes'  palaces.  It  is  a  good  divine  that  follows 
his  own  instructions  :  I  can  easier  teach  twenty  what  were 
good  to  be  done,  than  be  one  of  the  twenty  to  follow  mine 
own  teaching.  The  brain  may  devise  laws  for  the  blood ; 
but  a  hot  temper  leaps  o'er  a  cold  decree  :  such  a  hare  is 

5.  aught  I  ought  QqFf.  15.  than  be  F4  1  then  be  F1F2F8  I 

6.  mean  Qq  |  small  Ff.  then  to  be  Qq. 

6-8.  The  Folios,  with  their  reading,  "  small  happiness,"  lose  the 
Shakespearian  play  on  words.  Here,  with  '  mean  '  as  with  *  will '  in 
11.  21,22,  the  words  are  used  in  the  double  sense  so  dear  to  the 
euphuistic  Elizabethan.  —  superfluity  comes,  etc.  One  who  is  rich 
and  fares  sumptuously  sooner  gets  white  hairs,  grows  old,  and  dies. 
—  comes  by.    See  note  on  I,  i,  3. 

16-17.  blood  .  .  .  hot  temper.  These  were  cause  and  effect  accord- 
ing to  the  old  physiologists ;  hence  the  mediaeval  allegorical  poets 
often  identify  the  two,  and  put  them  for  passion  and  impulse  gen- 
erally —  a  tradition  followed  by  the  Elizabethan  writers. 


SCENE  II         THE  MERCHANT  OF  VENICE  1 5 

madness  the  youth,  to  skip  o'er  the  meshes  of  good  counsel 
the  cripple.  But  this  reasoning  is  not  in  the  fashion  to 
choose  me  a  husband.  O  me,  the  word  *  choose '  !  I  may 
neither  choose  whom  I  would,  nor  refuse  whom  I  dislike ; 
so  is  the  will  of  a  living  daughter  curb'd  by  the  will  of  a 
dead  father.  Is  it  not  hard,  Nerissa,  that  I  cannot  choose 
one,  nor  refuse  none?  24 

Nerissa.  Your  father  was  ever  virtuous ;  and  holy  men, 
at  their  death,  have  good  inspirations  :  therefore  the  lottery 
that  he  hath  devis'd  in  these  three  chests  of  gold,  silver, 
and  lead,  —  whereof  who  chooses  his  meaning  chooses  you, 
—  will,  no  doubt,  never  be  chosen  by  any  rightly,  but  one 
who  shall  rightly  love.  But  what  warmth  is  there  in  your 
affection  towards  any  of  these  princely  suitors  that  are 
already  come?  32 

Portia.  I  pray  thee,  over-name  them;  and,  as  thou 
namest  them,  I  will  describe  them;  and,  according  to  my 
description,  level  at  my  affection. 

Nerissa.    First,  there  is  the  Neapolitan  prince.  36 

Portia.    Ay,  that 's  a  colt  indeed,  for  he  doth  nothing  but 

19.  reasoning  is  not  in  the  Qq  I  29.  will,  no  doubt,  never  Q2Ff Qa 

reason  is  not  in  Ff.  Q4  I  no  doubt  you  will  never  Qi. 

33.  Is  it  QqF2F8F4  I  it  is  Fi.  30.  who  Qi  1  who  you  Q2FfQ3Q4. 

19.  reasoning:  talk,  conversation.  Shakespeare  uses  'reason,' 
noun  and  verb,  in  this  sense,  II,  viii,  27 ;  King  Lear^  V,  i,  26. 

22.  will.  The  second  'will*  is  *will  and  testament.'  In  Sonnets, 
cxxxv,  cxxxvi,  Shakespeare  puns  throughout  upon  the  word  '  Will.' 

23-24.  Double  negatives  are  common  in  Early  and  Middle  English. 

35.  level  at :  aim  at,  guess  at.  Cf.  2  Henry  IV,  III,  ii,  86.  The 
figure  is  that  of  leveling  a  weapon  with  a  view  to  hit  an  object. 

37.  colt.  An  equivoque.  'Colt'  was  used  for  a  wild,  dashing, 
skittish  youngster.  Steevens  notes  that  in  the  sixteenth  century  the 
Neapolitans  were  much  noted  for  horsemanship. 


l6  THE  NEW  HUDSON  SHAKESPEARE      act  i 

talk  of  his  horse ;  and  he  makes  it  a  great  appropriation 
to  his  own  good  parts,  that  he  can  shoe  him  himself. 

Nerissa.    Then  is  there  the  County  Palatine.  40 

Portia.    He  doth  nothing  but  frown ;  as  who  should  say, 

*  If  you  will  not  have  me,  choose.'  He  hears  merry  tales, 
and  smiles  not :  I  fear  he  will  prove  the  weeping  philosopher 
when  he  grows  old,  being  so  full  of  unmannerly  sadness  in 
his  youth.  I  had  rather  be  married  to  a  death's-head  with 
a  bone  in  his  mouth  than  to  either  of  these.  God  defend 
me  from  these  two !  47 

Nerissa.  How  say  you  by  the  French  lord.  Monsieur 
Le  Bon?  49 

Portia.  God  made  him,  and  therefore  let  him  pass  for  a 
man.  In  truth,  I  know  it  is  a  sin  to  be  a  mocker :  but,  he  ! 
why,  he  hath  a  horse  better  than  the  Neapolitan's ;  a  better 
bad  habit  of  frowning  than  the  Count  Palatine  :  he  is  every 

40.  Palatine  Qi  |  Palentine  Q2FfQ3.  45-  te  Qq  |  to  be  Ff. 

38.  appropriation.  Used  oddly  here  in  the  sense  of  '  addition.'  The 
word  does  not  occur  again  in  Shakespeare.  Collier  suggested  as  an 
emendation  the  substitution  of  '  approbation  of,'  Shakespeare  using 

*  approbation '  more  than  once  in  the  sense  of  'proof.'  Qi  reads 
'appropriation  unto.' 

43.  the  weeping  philosophet.  This  was  Heraclitus  of  Ephesus, 
who  is  said  to  have  become  a  complete  recluse,  and  retreated  to 
"the  mountains,  where  he  lived  on  pot-herbs.  He  was  called  "  the 
weeping  philosopher"  because  he  mourned  over  the  follies  of  man- 
kind, just  as  Democritus  was  called  "the  laughing  philosopher" 
because  he  laughed  at  them.  Perhaps  Portia  has  in  mind  the  pre- 
cept :  "  Rejoice  with  them  that  do  rejoice,  and  weep  with  them  that 
weep."  —  Romans^  xii,  1 5. 

45.  The  reference  is  to  the  skull  and  crossbones  so  often  sculp- 
tured on  tombstones. 

48.  by:  about.  Cf.  II,  ix,  25;  Love's  Labour'' s  Lost^  IV,  iii,  150; 
AlVs  Well  that  Ends  Well,  V,  iii,  237. 


SCENE  II       THE   MERCHANT  OF  VENICE  I7 

man  in  no  man  :  if  a  throstle  sing,  he  falls  straight  a-caper- 
ing ;  he  will  fence  with  his  own  shadow.  If  I  should  marry 
him,  I  should  marry  twenty  husbands.  If  he  would  despise 
me,  I  would  fargive  him ;  for,  if  he  love  me  to  madness,  I 
shall  never  requite  him.  58 

Nerissa.  What  say  you  then  to  Falconbridge,  the  young 
baron  of  England?  60 

Portia.  You  know  I  say  nothing  to  him ;  for  he  under- 
stands not  me,  nor  I  him  :  he  hath  neither  Latin,  French, 
nor  Italian ;  and  you  will  come  into  the  court  and  swear  that 
I  have  a  poor  pennyworth  in  the  English.  He  is  a  proper 
man's  picture ;  but,  alas,  who  can  converse  with  a  dumb-show? 

54.  throstle  I  Trassell     QqFi  |  58.  shall  Qq  |  should  Ff. 

Tarssell  F2  I  Tassell,  F3  1  Tassel  F4. 

54.  throstle.  The  F2  emendation,  *  Tarssell '  {tiercel,  tarcel,  or 
tercel,  a  male  hawk),  was  an  unlucky  attempt  to  hit  the  right  bird. 
*  Trassell '  may  be  no  misprint,  but  a  phonetic  representation  of  a 
pronunciation  of  *  throstle '  still  common  in  Scotland  and  the  north  of 
England;  though  in  A  Midsummer  Night^s  Dream,  III,  i,  130  — 

The  ousel  cock  so  black  of  hue, 

With  orange-tawny  bill, 
The  throstle  with  his  note  so  true, 

the  word  is  consistently  spelled  *  throstle,'  both  in  Quartos  and  Folios. 

55-56.  I  should  ...  I  should.    See  Abbott,  §§  322-331. 

59.  to:  as  to,  concerning.  Portia  in  her  answer  uses  Nerissa's 
expression  '  say  to '  punningly  in  its  ordinary  signification. 

64.  proper:  well-formed.  The  word  is  still  used  in  this  sense  in 
certain  districts  in  Scotland.  Hebrews,  xi,  23 :  "  By  faith  Moses, 
when  he  was  bom,  was  hid  three  months  of  his  parents,  because 
they  saw  he  was  a  proper  child."  Cf.  A  Midsummer  Night^ s Dream^ 
I,  ii,  88 ;  2  Henry  IV,  II,  ii,  72 ;  As  You  Like  It,  III,  v,  51. 

65.  dumb-show :  a  dramatic  representation,  or  part  of  one,  shown 
pantomimically.  Dumb-shows  were  common  in  the  early  English 
drama  and  were  familiar  to  Shakespeare's  audiences.  A  dumb-show 
b  introduced  in  Hamlet^  III,  ii,  145. 


l8  THE   NEW  HUDSON  SHAKESPEARE      act  t 

How  oddly  he  is  suited  !  I  think  he  bought  his  doublet  in 
Italy,  his  round  hose  in  France,  his  bonnet  in  Germany,  and 
his  behaviour  every  where.  68 

Nerissa.  What  think  you  of  the  Scottish  lord,  his  neigh- 
bour? 70 

Portia.  That  he  hath  a  neighbourly  charity  in  him ;  for 
he  borrow'd  a  box  of  the  ear  of  the  Englishman,  and  swore 
he  would  pay  him  again  when  he  was  able  :  I  think  the  French- 
man became  his  surety,  and  seal'd  under  for  another.        74 

69.  Scottish  Qq  I  other  Ff.  72.  swore  Fi  |  sworne  F2. 

66.  doublet :  the  outer  body  garment  worn  by  men  in  the  sixteenth 
century,  the  name  having  reference  to  the  heavy  lining  or  quilting. 

67.  hose:  very  tight  trousers  covering  the  waist  and  legs.  Foot 
covering  was  not  known  by  this  name  until  after  1600.  —  bonnet: 
common  name  for  man's  headdress  in  many  districts  of  Scotland 
to-day.  This  fashion  of  affecting  foreign  dress  is  satirized  in  a  simi- 
lar vein  by  Don  Pedro  in  Much  Ado  About  Nothiiig,  III,  ii,  33  :  "A 
Dutchman  to-day,  a  Frenchman  to-morrow,  or  in  the  shape  of  two 
countries  at  once,  as,  a  German  from  the  waist  downward,  all  slops, 
and  a  Spaniard  from  the  hip  upward,  no  doublet."  Such  passages 
resemble  descriptions  of  Elizabethan  fops  and  gallants  in  Joseph 
Hall's  Satires  {Virgidemiarum)^  published  in  1 597-1 598: 

How  stiffly  struts  he  by, 
All  trapped  in  the  new-found  bravery. 
The  nuns  of  new-won  Calais  his  bonnet  lent, 
In  lieu  of  their  so  kind  a  conquerment. 
What  needed  he  fetch  that  from  farthest  Spain, 
His  grandame  could  have  lent  with  lesser  pain? 

69.  The  Folio  substitution  of  'other'  for  the  'Scottish'  of  the 
1600  Quartos  was  obviously  in  deference  to  King  James  I. 

74.  To  '  seal '  was  to  '  subscribe ' ;  as  Antonio  afterwards  says, 
I,  iii,  144,  "I'll  seal  to  such  a  bond."  The  principal  sealed  to  a 
bond,  his  surety  sealed  under.  The  meaning  therefore  is  that  the 
Frenchman  became  surety  for  another  box  of  the  ear,  to  be  given  in 
repayment  of  the  first.  There  is  satirical  allusion  here  to  the  fre- 
quent Scottish-French  alliances  against  England. 


SCENE  II        THE   MERCHANT  OF  VENICE  19 

Nerissa.  How  like  you  the  young  German,  the  Duke  of 
Saxony's  nephew?  7^ 

Portia.  Very  vilely  in  the  morning,  when  he  is  sober ; 
and  most  vilely  in  the  afternoon,  when  he  is  drunk ;  when 
he  is  best,  he  is  a  little  worse  than  a  man ;  and  when 
he  is  worst,  he  is  little  better  than  a  beast :  and  the  worst 
fall  that  ever  fell,  I  hope  I  shall  make  shift  to  go  with- 
out him.  82 

Nerissa.  If  he  should  offer  to  choose,  and  choose  the 
right  casket,  you  should  refuse  to  perform  your  father's  will, 
if  you  should  refuse  to  accept  him.  85 

Portia.  Therefore,  for  fear  of  the  worst,  I  pray  thee,  set 
a  deep  glass  of  Rhenish  wine  on  the  contrary  casket ;  for, 
if  the  devil  be  within  and  that  temptation  without,  I  know 
he  will  choose  it.  I  will  do  any  thing,  Nerissa,  ere  I  '11  be 
married  to  a  sponge.  90 

Nerissa.  You  need  not  fear,  lady,  the  having  any  of 
these  lords  :  they  have  acquainted  me  with  their  determina- 
tions; which  is,  indeed,  to  return  to  their  home,  and  to 
trouble  you  with  no  more  suit,  unless  you  may  be  won  by 
some  other  sort  than  your  father's  imposition  depending 
on  the  caskets.  96 

77.  vilely  I  vildely  QiFf.  89.  I  '11 1  He  Qi  1 1  will  Ff. 

80.  and.  Such  is  the  reading  of  Quartos  and  Folios.  No  need  to 
change  the  word  to  •  an.'  *  And*  meaning  '  if  '  is  common  in  Middle 
and  Elizabethan  English,  as  well  as  in  colloquial  and  provincial  use 
to-day.    See  Abbott,  §§  10 1,  103. 

91.  the  having.    See  Abbott,  §  93. 

95.  sort.  Here  used  in  the  sense  of  *  lot ' ;  from  the  Latin  sors.  So 
in  Troilus  and  Cressida,  I,  iii,  376:  "let  blockish  Ajax  draw  The 
sort  to  fight  with  Hector."  —  your  father's  imposition :  the  condi- 
tions imposed  by  your  father. 


20  THE  NEW  HUDSON   SHAKESPEARE      act  i 

Portia.  If  I  live  to  be  as  old  as  Sibylla,  I  will  die  as 
chaste  as  Diana,  unless  I  be  obtain'd  by  the  manner  of 
my  father's  will.  I  am  glad  this  parcel  of  wooers  are  so 
reasonable;  for  there  is  not  one  among  them  but  I  dote 
on  his  very  absence;  and  I  pray  God  grant  them  a  fair 
departure.  102 

Nerissa.  Do  you  not  remember,  lady,  in  your  father's 
time,  a  Venetian,  a  scholar,  and  a  soldier,  that  came  hither 
in  company  of  the  Marquis  of  Montferrat?  105 

lox.  pray  God  grant  Qq  |  wish  104.  Venetian,  a  scholar  QaFfQs 

F1F2.  Q4  I  Venetian  scholler  Qi. 

97.  Shakespeare  here  turns  the  word  *  sibyl '  into  a  proper  name. 
That  he  knew  it  to  be  a  generic,  not  an  individual  name,  appears  in 
Othello,  III,  iv,  70 : 

A  sibyl,  that  had  number'd  in  the  world, 
The  sun  to  course  two  hundred  compasses. 
In  her  prophetic  fury  sew'd  the  work. 

Bacon,  in  his  essay,  Of  Delay Sy  also  uses  the  word  as  a  proper  name  : 
"Fortune  is  like  the  market  where,  many  times,  if  you  can  stay  a  little, 
the  price  will  fall.  And  again,  it  is  sometimes  like  Sybilla^s  offer,  which 
at  first  offereth  the  commodity  at  full,  then  consumeth  part  and  part, 
and  still  holdeth  up  the  price."  The  particular  sibyl  referred  to  by 
Portia  is  the  Cumaean  Sibyl,  so  named  from  Cumae  in  Italy,  where 
she  had  her  prophetic  seat.  Apollo  offered  to  grant  any  request  she 
might  make.  Her  request  was  that  she  might  live  as  many  years  as 
the  number  of  the  grains  of  sand  which  she  was  grasping. 

Id.  I  pray  God  grant.  So  the  Quartos ;  the  Folios  read,  •  I  w4sh.* 
The  famous  statute  of  1605,  "to  restrain  the  abuses  of  Players,"  is 
perhaps  responsible  for  this  change.  This  statute  expressly  states, 
"  that  if  .  .  .  any  person  ...  do  or  shall  in  any  Stage-play  . . .  use  the 
holy  Name  of  God  . . .  shall  forfeit . . .  ten  pounds."  But  elsewhere  in 
the  Folio  of  1623  the  name  of  God  is  retained  in  similar  expressions, 
I,  ii,  46,  50 ;  II,  ii,  60 ;  II,  ii,  102,  etc.,  so  too  much  need  not  be  made 
of  the  influence  of  the  1605  legislation  upon  this  textual  variation. 


SCENE  II        THE   MERCHANT  OF  VENICE  21 

Portia.  Yes,  yes,  it  was  Bassanio ;  as  I  think  he  was  so 
caird.  107 

Nerissa.  True,  madam :  he,  of  all  the  men  that  ever 
my  foolish  eyes  look'd  upon,  was  the  best  deserving  a 
fair  lady.  no 

Portia.  I  remember  him  well;  and  I  remember  him 
worthy  of  thy  praise. 

Enter  a  Serving-man 

How  now  I  what  news?  113 

Serving-man.  The  four  strangers  seek  for  you,  madam, 
to  take  their  leave  :  and  there  is  a  forerunner  come  from 
a  fifth,  the  Prince  of  Morocco ;  who  brings  word,  the  prince 
his  master  will  be  here  to-night.  117 

Portia.  If  I  could  bid  the  fifth  welcome  with  so  good 
heart  as  I  can  bid  the  other  four  farewell,  I  should  be  glad 
of  his  approach  :  if  he  have  the  condition  of  a  saint  and  the 
complexion  of  a  devil,  I  had  rather  he  should  shrive  me 
than  wive  me.  122 

Come,  Nerissa.    Sirrah,  go  before. 
Whiles  we  shut  the  gates  upon  one  wooer,  another  knocks 

at  the  door.  \Exeunt\    ^ 

y 

106.  he  was  so  Qi  I  so  was  he  Q2Ff  114.  seek  for  you  Qq  |  seek  you  Ff. 

Q8Q4.  123-124.  Printed  as  prose  in  Qq 

113.  Hownowl  whatnew8?Qq  |  Ff  |  first  as  verse  by  Knight, 
omitted  in  Ff.  124.  gates  Qi  |  gate  Q2Q8Q4Ff. 

114.  The  four  strangers.  Six  have  been  enumerated.  Most  prob- 
ably this  is  an  oversight  on  Shakespeare's  part.  Attempts  have  been 
made  to  saddle  the  mistake  on  careless  editors  and  printers ;  also 
to  found  upon  it  a  theory  of  a  first  draft  of  the  play  (or  an  older  play) 
in  which  were  only  four  strangers,  the  English  and  the  Scottish  lords 
being  probably  added  in  the  revision,  to  please  an  English  audience. 


22  THE   NEW  HUDSON   SHAKESPEARE      act  i 

Scene  III.    Venice.   A  public  place 
Enter  Bassanio  and  Shylock 

Shylock.    Three  thousand  ducats,  —  well. 

Bassanio.    Ay,  sir,  for  three  months. 

Shylock.    For  three  months,  —  well. 

Bassanio.  For  the  which,  as  I  told  you,  Antonio  shall  be 
bound.  5 

Shylock.    Antonio  shall  become  bound,  —  well. 

Bassanio.  May  you  stead  me?  will  you  pleasure  me? 
shall  I  know  your  answer? 

Shylock.  Three  thousand  ducats  for  three  months,  and 
Antonio  bound.  lo 

Bassanio.    Your  answer  to  that. 

Shylock.    Antonio  is  a  good  man. 

Bassanio.  Have  you  heard  any  imputation  to  the  contrary  ? 

Shylock.  Ho  !  no,  no,  no,  no :  my  meaning,  in  saying 
he  is  a  good  man,  is  to  have  you  understand  me,  that  he 
is  sufficient.  Yet  his  means  are  in  supposition :  he  hath 
an  argosy  bound  to  Tripolis,  another  to  the  Indies ;  I 
understand,  moreover,  upon  the  Rialto,  he  hath  a  third  at 
Mexico,  a  fourth  for  England;  and  other  ventures  he  hath. 

Enter    Bassanio  ...  I  Enter  Bas-  19-20.  hath,    squander'd  I  Theo- 

sanio  with  Shylock  the  Jew  QqFf.  bald  inserted  comma  |  hath  squan- 

dered QqFf. 

I.  well.    The  word  has  here  something  of  an  interrogative  force. 

4.  the  which.    See  Abbott,  §  270. 

7.  May  you.  'May'  originally  involved  the  notion  of  ability 
(Anglo-Saxon  magan^  German  mdgen).    See  Abbott,  §  307. 

18.  the  Rialto.  "As  it  were  Rivo  Alto,  a  high  shore.  .  .  .  An  emi- 
nent place  in  Venice  where  Merchants  commonly  meet."  —  Florio, 
Italian  Dictionary ^  161 1.    See  note  on  1.  99. 


SCENE  III      THE   MERCHANT   OF  VENICE  23 

squandered  abroad.  But  ships  are  but  boards,  sailors  but 
men :  there  be  land-rats  and  water-rats,  water-thieves  and 
land-thieves,  I  mean  pirates :  and  then  there  is  the  peril 
of  waters,  winds,  and  rocks.  The  man  is,  notwithstanding, 
sufficient.  Three  thousand  ducats;  —  I  think  I  may  take 
his  bond.  25 

Bassanio.    Be  assur'd  you  may. 

Shylock.  I  will  be  assur'd  I  may;  and,  that  I  may  be 
assur'd,  I  will  bethink  me.    May  I  speak  with  Antonio? 

Bassanio.    If  it  please  you  to  dine  with  us.  29 

Shylock.  Yes,  to  smell  pork;  to  eat  of  the  habitation 
which  your  prophet  the  Nazarite  conjur'd  the  devil  into.  I 
will  buy  with  you,  sell  with  you,  talk  with  you,  walk  with 
you,  and  so  following;  but  I  will  not  eat  with  you,  drink 
with  you,  nor  pray  with  you.  What  news  on  the  Rialto  ?  — 
Who  is  he  comes  here?  35 

Enter  Antonio 

Bassanio.    This  is  Siguier  Antonio. 

Shylock.  \^Aside\  How  like  a  fawning  publican  he  looks  I 
I  hate  him  for  he  is  a  Christian ; 
But  more  for  that,  in  low  simplicity. 
He  lends  out  money  gratis  and  brings  down  40 

31.  See  Matthew^  viii,  32.  In  all  Bible  translations  into  English 
in  the  sixteenth  century,  from  Tyndale's  to  that  of  the  Bishops' 
Bible,  '  Nazarite  '  is  used,  as  '  Nazarene '  is  in  the  King  James  ver- 
sion, to  describe  a  man  of  Nazareth. 

37.  fawning  publican.  The  explanation  of  this  peculiar  and  difficult 
expression  may  be  found  in  Luke,  xviii,  10-14.  Professor  Moulton, 
Shakespeare  as  a  Dramatic  Artist,  p.  61,  note,  suggests  that  this  line 
should  be  given  to  Antonio. 


24  THE  NEW  HUDSON  SHAKESPEARE      act  i 

The  rate  of  usance  here  with  us  in  Venice. 

If  I  can  catch  him  once  upon  the  hip, 

I  will  feed  fat  the  ancient  grudge  I  bear  him. 

He  hates  our  sacred  nation ;  and  he  rails, 

Even  there  where  merchants  most  do  congregate,  45 

On  me,  my  bargains,  and  my  well-won  thrift. 

Which  he  calls  interest.    Cursed  be  my  tribe, 

If  I  forgive  him  ! 

Bassanio.  Shylock,  do  you  hear? 

Shylock.    I  am  debating  of  my  present  store ; 
And,  by  the  near  guess  of  my  memory,  50 

I  cannot  instantly  raise  up  the  gross 
Of  full  three  thousand  ducats.    What  of  that  ? 
Tubal,  a  wealthy  Hebrew  of  my  tribe, 

46.  well-won  Qq  |  well-worn  Ff.  48.  Shylock  1  Shy  loch  Q2. 

41.  'Usance,'  'usury,'  and  'interest'  were  all  terms  of  precisely  the 
same  import  in  Shakespeare's  time ;  there  being  then  no  such  law 
or  custom  whereby  '  usury '  has  since  come  to  mean  the  taking  of 
interest  above  a  certain  rate.  How  the  taking  of  interest,  at  what- 
ever rate,  was  commonly  esteemed  at  that  time  is  shown  in  Lord 
Bacon's  essay,  Of  Usurie,  where  he  mentions  the  popular  arguments 
against  it :  "  that  the  usurer  is  the  greatest  Sabbath  Breaker,  because 
his  Plough  goeth  every  Sunday  .  .  .  that  the  usurer  breaketh  the 
First  Law,  that  was  made  for  Mankind  after  the  Fall ;  which  was.  In 
sudor e  Vult{ls  tui  comedes  Panem  tuum)- . . .  That  usurers  should  have 
Orange-tawney  Bonnets,  because  they  do  Judaize.  That  it  is  against 
Nature,  for  Money  to  beget  Money  .  .  ."  From  this  it  is  plain  that 
usury  was  regarded  as  a  badge  of  Judaism. 

42.  upon  the  hip.  Some  explain  this  as  a  phrase  of  wrestling; 
others,  of  hunting.  To  'have  orve  on  the  hip'  was  to  have  the 
advantage.  Henley  thinks  the  explanation  of  the  expression  may 
be  found  in  Genesis^  xxxii,  24-32.  Cf.  IV,  i,  329,  and  Othello^ 
II,  i,  314. 

1  In  the  sweat  of  thy  face  shalt  thou  eat  thy  bread. 


SCENE  III      THE  MERCHANT  OF  VENICE  2$ 

Will  furnish  me.    But,  soft !  how  many  months 

Do  you  desire  ?  —  [7^  Ant.]  Rest  you  fair,  good  signior ; 

Your  worship  was  the  last  man  in  our  mouths.  5^ 

Antonio.    Shylock,  although  I  neither  lend  nor  borrow, 
By  taking  nor  by  giving  of  excess, 
Yet,  to  supply  the  ripe  wants  of  my  friend, 
I  '11  break  a  custom.  —  Is  he  yet  possess'd  6o 

How  much  ye  would  ? 

Shylock.  Ay,  ay,  three  thousand  ducats. 

Antonio.   And  for  three  months. 

Shylock.    I  had  forgot,  —  three  months ;  you  told  me  so. 
Well  then,  your  bond ;  and,  let  me  see ;  but  hear  you ; 
Methought  you  said  you  neither  lend  nor  borrow  65 

Upon  advantage. 

Antonio.  I  do  never  use  it. 

Shylock.  When  Jacob  graz'd  his  uncle  Laban's  sheep,— 
This  Jacob  from  our  holy  Abram  was 

55.  [To  Ant.  ]  Rowe.  60-61.  Ishe  .  . .  ye  would  Q2Q3Q4 

57.  although  Qi  |  albeit  Q2FfQ3  I  are  you   resolv'd,    How  much  he 

Q4.  would   have   Qi  I  is   he  yet   possest 

59.  ripe  QqFf  |  rife  Johnson  conj.  How  much  he  would  Ff. 

55.  Rest  you  fair :  good  health  to  you !  may  you  continue  well ! 
—  a  conventional  greeting  where  '  God '  may  be  understood  as  the  sub- 
jectof 'rest,'  as  in  the  common  Elizabethan  wish,  especially  at  part- 
ing, "  God  rest  you  merry ! "    Cf.  As  You  Like  It,  V,  i,  65. 

60-61.  Is  he  yet  possess'd  How  much  ye  would?  This  is  the  reading 
of  the  Second  Quarto,  and  Fumivall  calls  it  the  test  passage  in  deter- 
mining the  superiority  of  this  Quarto  to  the  First.  Fumess  prefers  and 
defends  the  reading  of  the  First  Quarto,  adding  at  the  close  of  his 
argument,  "  if,  however,  the  text  of  Q2  is  to  be  preferred,  I  should 
certainly  change  the  ye,  not  into  you,  as  Theobald  changed  it,  but 
into  we,  as  suggested  by  Walker  and  adopted  by  Dyce  and  Hudson."  l 
The  Folio  reading  is  obviously  a  mistake.  —  possess'd :  informed. 

1  In  the  earlier  editions  of  Hudson's  Shakespeare. 


26  THE   NEW  HUDSON  SHAKESPEARE      act  r 

(As  his  wise  mother  wrought  in  his  behalf) 

The  third  possessor ;  ay,  he  was  the  third,  —  70 

Antonio.    And  what  of  him?  did  he  take  interest? 

Shylock.    No,  not  take  interest ;  not,  as  you  would  say. 
Directly  interest :  mark  what  Jacob  did. 
When  Laban  and  himself  were  compromis'd 
That  all  the  eanlings  which  were  streak'd  and  pied  75 

Should  fall  as  Jacob's  hire, 
The  skilful  shepherd  pill'd  me  certain  wands ; 
He  stuck  them  up  before  the  fulsome  ewes, 
Who,  then  conceiving,  did  in  eaning  time 
Fall  parti-colour'd  lambs,  and  those  were  Jacob's.  80 

This  was  a  way  to  thrive,  and  he  was  blest : 
And  thrift  is  blessing,  if  men  steal  it  not. 

Antonio.    This  was  a  venture,  sir,  that  Jacob  serv'd  for ; 
A  thing  not  in  his  power  to  bring  to  pass, 
But  sway'd  and  fashion'd  by  the  hand  of  heaven.  85 

Was  this  inserted  to  make  interest  good? 
Or  is  your  gold  and  silver  ewes  and  rams? 

Shylock.    I  cannot  tell ;  I  make  it  breed  as  fast. 
But  note  me,  signior. 

70.  third,  —  Dyce  |  third.   QqFf.  77.  pill'd  |  pil'd  F,  |  peel'd  Pope. 

70.  The  third  possessor.  Reckoning  Abraham  himself  as  the  first. 
How  Jacob's  "  wise  mother  wrought "  is  told  in  Genesis^  xxvii. 

75.  eanlings  :  newborn  lambs.  —  pied :  spotted. 

77.  me.  This  is  the  ethical  dative,  with  the  force  of  '  mark  me 
well,'  as  in  i  Henry  IV^  II,  iv,  233,  241.    See  Abbott,  §  220. 

79.  eaning  time:  lambing  season.  From  Anglo-Saxon  edniafty 
*  bring  forth.' 

86.  Was  this  inserted  in  Scripture? 

86,  88.  "  The  Greek  word  for  interest,  t6ko^,  is  the  exact  equivalent 
of  the  English  word  breed,  and  the  idea  underlying  the  two  was 
regularly  connected  with  that  of  interest  in  ancient  discussions.  The 


SCENE  III      THE   MERCHANT   OF  VENICE  27 

Antonio.  Mark  you  this,  Bassanio, 

The  devil  can  cite  Scripture  for  his  purpose.  90 

An  evil  soul,  producing  holy  witness, 
Is  like  a  villain  with  a  smiling  cheek ; 
A  goodly  apple  rotten  at  the  heart : 
O,  what  a  goodly  outside  falsehood  hath !  94 

Shylock.  Three  thousand  ducats, — 't  is  a  good  round  sum. 
Three  months  from  twelve,  —  then,  let  me  see  ;  the  rate  — 

Antonio.    Well,  Shylock,  shall  we  be  beholding  to  you? 

Shylock.    Signior  Antonio,  many  a  time  and  oft 
In  the  Rialto  you  have  rated  me  99 

94.  goodly  QqFf  I  godly  Rowe  |  96.  then,  let  me  see;  the  rate  — 

comely  Bailey  conj.  Camb  |  then  let  me  see  the  rate.   QqFf. 

same  idea  is  present  throughout  the  dispute  between  Antonio  and 
Shylock.  .  .  .  They  considered  the  distinction  between  the  using  of 
flesh  and  metal  for  the  medium  of  wealth  to  be  the  essential  point 
in  their  dispute."  —  Moulton,  Shakespeare  as  a  Dramatic  Artist^ 
p.  63.  Hence,  according  to  Moulton,  the  root-idea  of  the  conversa- 
tion flashes  into  Shylock's  mind  the  idea  of  the  bond. 
90.  Cf.  The  Jew  of  Malta,  I,  ii,  112  : 

What,  bring  you  Scripture  to  confirm  your  wrongs  ? 

94.  goodly.  Rowe  substituted  'godly.'  Walker  made  the  same 
change,  remarking  that  '  goodly '  and  *  godly,'  and,  in  like  manner, 
'  good '  and  '  God,'  have  been  confounded  in  various  passages  of  old 
English  writers.  Dyce  held  that  the  *  goodly '  of  Quartos  and  Folios 
was  repeated  from  the  preceding  line  by  a  printer's  mistake. 

97.  beholding :  beholden.    A  common  sixteenth  century  corruption. 

99.  Rialto.  In  this  scene  we  have  already  had  "on  the  Rialto" 
and  "  upon  the  Rialto."  Concerning  the  place  meant,  Rogers  thus 
speaks  in  one  of  the  notes  to  his  poem  on  Italy :  "  Rialto  is  the 
name,  not  of  the  bridge,  but  of  the  island  from  which  it  is  called ; 
and  the  Venetians  say  //  ponte  di  Rialto.  as  we  say  Westminster- 
bridge.  In  that  island  is  the  exchange ;  and  I  have  often  walked 
there  as  on  classic  ground.  In  the  days  of  Antonio  and  Bassanio  it 
was  second  to  none."    See  note  on  1.  18. 


28  THE  NEW  HUDSON  SHAKESPEARE      act  i 

About  my  moneys  and  my  usances :  loo 

Still  have  I  borne  it  with  a  patient  shrug ; 

For  sufferance  is  the  badge  of  all  our  tribe. 

You  call  me  misbeliever,  cut-throat  dog, 

And  spit  upon  my  Jewish  gaberdine, 

And  all  for  use  of  that  which  is  mine  own.  105 

Well  then,  it  now  appears  you  need  my  help : 

Go  to,  then ;  you  come  to  me,  and  you  say, 

'  Shylock,  we  would  have  moneys  : '  you  say  so ; 

You,  that  did  void  your  rheum  upon  my  beard, 

And  foot  me  as  you  spurn  a  stranger  cur  no 

Over  your  threshold  :  moneys  is  your  suit. 

What  should  I  say  to  you?    Should  I  not  say, 

*  Hath  a  dog  money  ?  is  it  possible 

A  cur  can  lend  three  thousand  ducats?  '  or 

Shall  I  bend  low,  and  in  a  bondman's  key,  115 

With  bated  breath  and  whispering  humbleness, 

Say  this,  — 

*  Fair  sir,  you  spit  on  me  on  Wednesday  last ; 
You  spurn*d  me  such  a  day ;  another  time 

You  caird  me  dog ;  and  for  these  courtesies  120 

I  '11  lend  you  thus  much  moneys '  ? 

Antonio.    I  am  as  like  to  call  thee  so  again, 
To  spit  on  thee  again,  to  spurn  thee  too. 
If  thou  wilt  lend  this  money,  lend  it  not 

104.  spit  F8F4  I  spet  QqFiF2.  ii8.  spit  |  spet  QqFf. 

114.  can  Qq  I  should  Ff.  119.  day  ;  another  time  Ff  |  day 

117-118.   Printed  as  one  line   in  another  time  Qq. 
QqFf.  123.  too  Ff  I  to  Qq. 

104.  gaberdine :  a  long,  coarse  outer  garment  or  frock.  Caliban, 
in  The  Tempest^  II,  ii,  40,  wears  one  big  enough,  it  seems,  to  wrap 
both  himself  and  Trinculo  in. 


SCENE  III      THE   MERCHANT  OF  VENICE  29 

As  to  thy  friends ;  for  when  did  friendship  take  125 

A  breed  of  barren  metal  of  his  friend  ? 

But  lend  it  rather  to  thine  enemy ; 

Who  if  he  break,  t&ou  mayst  with  better  face 

Exact  the  penalty. 

Shylock.  Why,  look  you,  how  you  storm  ! 

I  would  be  friends  with  you,  and  have  your  love,  130 

Forget  the  shames  that  you  have  stain'd  me  with. 
Supply  your  present  wants,  and  take  no  doit 
Of  usance  for  my  moneys,  and  you  '11  not  hear  me  : 
This  is  kind  I  offer. 

Bassanio.  This  were  kindness. 

Shylock.  This  kindness  will  I  show : 

Go  with  me  to  a  notary,  seal  me  there  136 

Your  single  bond ;  and,  in  a  merry  sport, 
If  you  repay  me  not  on  such  a  day, 
In  such  a  place,  such  sum  or  sums  as  are 
Expressed  in  the  condition,  let  the  forfeit  140 

Be  nominated  for  an  equal  pound 
Of  your  fair  flesh,  to  be  cut  off  and  taken 
In  what  part  of  your  body  pleaseth  me. 

125.  friends  QqFi  |  friend  F2F8F4.  129.  penalty  Qq  !  penalties  Ff. 

126.  breed  of  Ff  |  breed  for  Qq.  143.  pleaseth  Qq  |  it  pleaseth  Ff. 

126.  breed:  interest  ('bred'  from  the  principal). 

128.  Who  if  he  break.  Doubling  of  the  subject,  *  who  *  and  '  he,*  in 
relative  clauses  was  common  with  Elizabethan  writers.  Bacon  has  it 
often.  So  in  The  Advancement  of  Learning:  "Which  though  it 
be  not  true,  yet  I  forbear  to  note  any  deficiencies."  But  *  who '  in 
this  line  may  be  equal  to  '  from  whom.'    See  Abbott,  §  249. 

132.  doit :  small  Dutch  coin  of  little  value. 

141-142.  The  language  is  odd,  and  rather  obscure.  The  sense 
probably  is :  Let  the  forfeiture  of  a  pound  of  your  flesh  be  named 
or  specified  as  an  equivalent  for  the  debt. 


30  THE  NEW  HUDSON  SHAKESPEARE      act  i 

Antonio.  Content,  in  faith ;  I  '11  seal  to  such  a  bond, 
And  say  there  is  much  kindness  in  the  Jew.  145 

Bassanio.    You  shall  not  seal  to  such  a  bond  for  me : 
I  '11  rather  dwell  in  my  necessity. 

Antonio.    Why,  fear  not,  man ;  I  will  not  forfeit  it  : 
Within  these  two  months,  that 's  a  month  before 
This  bond  expires,  I  do  expect  return  150 

Of  thrice  three  times  the  value  of  this  bond. 

Shylock.    O  father  Abram,  what  these  Christians  are. 
Whose  own  hard  dealings  teaches  them  suspect 
The  thoughts  of  others  !  —  Pray  you,  tell  me  this  : 
If  he  should  break  his  day,  what  should  I  gain  155 

By  the  exaction  of  the  forfeiture? 
A  pound  of  man's  flesh  taken  from  a  man 
Is  not  so  estimable,  profitable  neither, 
As  flesh  of  muttons,  beefs,  or  goats.    I  say. 
To  buy  his  favour,  I  extend  this  friendship  :  160 

If  he  will  take  it,  so ;  if  not,  adieu ; 
And,  for  my  love,  I  pray  you  wrong  me  not. 

Antonio.    Yes,  Shylock,  I  will  seal  unto  this  bond. 

Shylock.    Then  meet  me  forthwith  at  the  notary's  : 
Give  him  direction  for  this  merry  bond ;  165 

And  I  will  go  and  purse  the  ducats  straight ; 
See  to  my  house,  left  in  the  fearful  guard 

153.  dealings  teaches  QqFi  I  deal-  161.  it,  so  Q2FfQ3Q4  I  it  so  Qi. 

ing  teaches  F2F3F4.  167.  fearful  |  fearless  Warburton. 

153.  teaches.  This  is  probably  the  old  Northern  plural  in-j-,  still 
common  in  Scottish  dialect:  "when  the  kye  comes  hame."  See 
Abbott,  §  233- 

155.  break  his  day :  fail  to  pay  on  the  day  appointed. 

167.  fearful  guard :  a  guard  not  to  be  trusted,  or  that  gives  cause 
of  fear.  '  To  fear'  was  used  in  an  active  as  well  as  a  passive  sense. 
So  in  the  next  scene  :  **  this  aspect  of  mine  Hath  fear'd  the  valiant." 


SCENE  III       THE   MERCHANT  OF  VENICE  31 

Of  an  unthrifty  knave ;  and  presently 
I  will  be  with  you. 

Antonio.  Hie  thee,  gentle  Jew.    \_Exit  Shylock] 

The  Hebrew  will  turn  Christian  :  he  grows  kind.  170 

Bassanio.    I  like  not  fair  terms  and  a  villain's  mind. 

Antonio.    Come  on  :  in  this  there  can  be  no  dismay ; 
My  ships  come  home  a  month  before  the  day.       \_Exeunt] 

169-170.  Antonio's  speech  printed       This    Ff. —  grows  kind  Ff  |  grows  so 
as  prose  in  QqFf.  kind  Qi. 

170.  The  Qq  Pope  Capell  Camb  |  171.  terms  |  teames  Ff . 


ACT   II 

Scene  I.    Belmont,    A  room  in  Portia's  house 

Flourish  of  cornets.    Enter  the  Prince  of  Morocco  and 
his  train  ;  Portia,  Nerissa,  and  others  attending 

Morocco.    Mislike  me  not  for  my  complexion, 
The  shadow'd  livery  of  the  burnish'd  sun. 
To  whom  I  am  a  neighbour  and  near  bred. 
Bring  me  the  fairest  creature  northward  bom, 
Where  Phoebus'  fire  scarce  thaws  the  icicles,  5 

And  let  us  make  incision  for  your  love, 
To  prove  whose  blood  is  reddest,  his  or  mine. 
I  tell  thee,  lady,  this  aspect  of  mine 
Hath  fear'd  the  valiant :  by  my  love,  I  swear 
The  best-regarded  virgins  of  our  clime  lo 

Have  lov'd  it  too.    I  would  not  change  this  hue. 
Except  to  steal  your  thoughts,  my  gentle  queen. 

4.  Bring  me  the  Ff  |  bring  the  Qi.  11.  Have  Ff  |  Hath  Qi. 

1.  The  old  stage  direction  introducing  this  second  scene  and  its 
characters  contains  a  graphic  description  of  the  Prince  of  Morocco  : 
"  Enter  Morochus,  a  tawny  Moor  all  in  white,  and  three  or  four 
followers  accordingly,  with  Portia,  Nerissa,  and  their  train.  Flo. 
Comets." 

2.  burnish'd.  Collier  suggested  *  burning '  as  an  emendation,  and 
this  reading  appeared  in  the  earlier  editions  of  Hudson's  Shakespeare. 

7.  "  Red  blood  is  a  traditionary  sign  of  courage.  Thus,  Macbeth 
calls  one  of  his  frightened  soldiers  a  '  lily-liver'd '  boy ;  again,  in  this 
play,  cowards  are  said  to  have  '  livers  as  white  as  milk ' ;  and  an 
effeminate  and  timorous  man  is  termed  a  milksop."  —  Johnson.  For 
the  superlative,  •  reddest,'  see  Abbott,  §  10. 

32 


SCENE  I         THE   MERCHANT  OF  VENICE  33 

Portia.    In  terms  of  choice  I  am  not  solely  led 
By  nice  direction  of  a  maiden's  eyes ; 

Besides,  the  lottery  of  my  destiny  15 

Bars  me  the  right  of  voluntary  choosing : 
But,  if  my  father  had  not  scanted  me, 
And  hedg'd  me  by  his  wit,  to  yield  myself 
His  wife  who  wins  me  by  that  means  I  told  you, 
Yourself,  renowned  Prince,  then  stood  as  fair  20 

As  any  comer  I  have  look'd  on  yet 
For  my  affection. 

Morocco.  Even  for  that  I  thank  you : 

Therefore,  I  pray  you,  lead  me  to  the  caskets, 
To  try  my  fortune.    By  this  scimitar 

That  slew  the  Sophy,  and  a  Persian  prince  25 

That  won  three  fields  of  Sultan  Solyman, 
I  would  out-stare  the  sternest  eyes  that  look, 

18.  wit     QqFf  I  will     Hanmer  27.  out-stare  Qi  |  ore-stare    Q2Ff 

(Theobald  conj.).  Q8Q4. 

14.  Portia  means  that  reason  and  judgment  have  a  voice  potential 
in  her  thoughts  of  marriage.  So  in  Hamlet^  IV,  iii,  4 :  "  the  dis- 
tracted multitude,  Who  like  not  in  their  judgment,  but  their  eyes." 

18.  wit:  judgment,  foresight.  Theobald  suggested  *wiir  as  an 
emendation,  and  this  reading  was  adopted  in  previous  editions  of 
Hudson's  Shakespeare. 

25.  Sophy.  From  The  History  of  the  Warres  between  the  Turkes 
and  the  Persians  (London,  1595),  Shakespeare  might  have  learned 
that  *'  Soffi  and  Sofito,  an  ancient  word  signifying  a  wise  man  .  .  . 
is  growen  to  be  the  common  name  of  the  Emperour  of  Persia." 
Ismael  Sophi  is  said  to  have  been  the  founder  of  what  was  called 
the  Suff avian  dynasty.  The  same  potentate  is  twice  referred  to  in 
Thvelfth  Night  (II,  v,  198  ;  III,  iv,  307). 

26.  Sultan  Solyman.  The  reference  is  doubtless  to  Solyman  the 
Magnificent,  the  greatest  sultan  of  the  sixteenth  century,  who  led  a 
disastrous  campaign  against  the  Persians  in  1535. 


34  THE  NEW  HUDSON  SHAKESPEARE     act  ii 

Outbrave  the  heart  most  daring  on  the  earth, 

Pluck  the  young  sucking  cubs  from  the  she-bear, 

Yea,  mock  the  Hon  when  he  roars  for  prey,  30 

To  win  the  lady.    But,  alas  the  while  ! 

If  Hercules  and  Lichas  play  at  dice 

Which  is  the  better  man,  the  greater  throw 

May  turn  by  fortune  from  the  weaker  hand : 

So  is  Alcides  beaten  by  his  rage ;  35 

And  so  may  I,  blind  fortune  leading  me, 

Miss  that  which  one  unworthier  may  attain. 

And  die  with  grieving. 

Portia.  You  must  take  your  chance ; 

And  either  not  attempt  to  choose  at  all. 
Or  swear,  before  you  choose,  if  you  choose  wrong  40 

Never  to  speak  to  lady  afterward 
In  way  of  marriage  :  therefore  be  advis'd. 

Morocco.    Nor  will  not.    Come,  bring  me  unto  my 
chance. 

31.  the  lady  |  thee,   lady   Rowe  35.  rage  QqFf  |  page  Theobald. 

QqFf. 

31.  alas  the  while.  An  imprecation  upon  contemporary  conditions 
like  "  Woe  the  while  !  "  "  Woe  worth  the  day ! " 

32-33.  If  they  try  the  question  of  which  is  the  braver  man  by  a 
game  of  dice.  The  story  of  Lichas  and  his  bringing  to  Hercules  the 
"  shirt  bestained  with  the  blood  of  Nessus "  is  found  in  Ovid's 
Metamorphoses.,  IX.  Hercules  was  a  descendant  of  Alcaeus,  and  so 
is  called,  in  the  Greek  idiom,  Alcides,  in  1.  35.    See  also  III,  ii,  55. 

35.  rage.  Almost  all  modern  editors  have  accepted  Theobald's 
emendation,  *  page.'  But  the  text  as  it  stands  is  more  poetical  and 
Shakespearian.  For  an  ingenious  defense  of  the  Folio  reading  see 
Porter  and  Clarke's  '  First  Folio '  edition  of  the  play. 

42.  advis'd.  "  Therefore  be  not  precipitant ;  consider  well  what 
you  are  to  do.    'Advis'd '  is  the  word  opposite  to  '  rash.'  "  —  Johnson. 

43.  Nor  .  .  .  not.    See  note,  p.  15,  1.  24. 


SCENE  II       THE  MERCHANT  OF  VENICE  35 

Portia.    First,  forward  to  the  temple  :  after  dinner 
Your  hazard  shall  be  made. 

Morocco.  Good  fortune  then !  45 

To  make  me  blest  or  cursed'st  among  men. 

\_Cornets,  and  exeunt] 

Scene  II.    Venice.   A  street 

Enter  Launcelot 

Launcelot.  Certainly  my  conscience  will  serve  me  to 
run  from  this  Jew  my  master.  The  fiend  is  at  mine  elbow, 
and  tempts  me,  saying  to  me,  *  Gobbo,  Launcelot  Gobbo, 
good  Launcelot,*  or  *  good  Gobbo,'  or  *  good  Launcelot 
Gobbo,  use  your  legs,  take  the  start,  run  away.*  My  con- 
science says,  *  No ;  take  heed,  honest  Launcelot ;  take 
heed,  honest  Gobbo,'  or,  as  aforesaid,  *  honest  Launcelot 
Gobbo ;  do  not  run ;  scorn  running  with  thy  heels.'    Well, 

jE«/^rLAUNCELOT!  Enter  Laun-  3.  tempts  QqFiF2  |  attempts  Fs 

celot  alone  Rowe  |  Enter  the  Clowne       F4.  —  Gobbo   Qi  |  lobbe   Q2F1 1  Job 
alone  QqFf.  Fs. 

44.  temple.  Keightley  wished  to  substitute  *  table,'  but  possibly 
Portia's  command  to  the  Prince  is  to  go  to  the  church  to  take  the 
oath  mentioned  just  before,  and  described  more  particularly  in  the 
ninth  scene  of  this  act.  Bibles  were  not  kept  in  private  houses  in 
Shakespeare's  time  ;  and  such  an  oath  had  to  be  taken  on  the  Bible. 

46.  The  force  of  the  superlative  in  ♦  cursed'st '  retroacts  on  '  blest ' ; 
so  that  the  sense  is  '  most  blest  or  most  cursed.'  So  in  Measure  for 
Measure^  IV,  vi,  13,  "  The  generous  and  gravest  citizens." 

8.  To  scorn  a  thing  with  the  heels  appears  to  have  been  an  old 
phrase  for  spuming  or  kicking  at  a  thing.  Shakespeare  has  the 
phrase  again  in  Much  Ado  About  Nothing,  III,  iv,  50.  Launcelot 
seems  to  be  in  chase  of  a  quibble  between  the  heels  as  used  in 
kicking,  and  the  heels  as  used  in  running. 


36  THE  NEW  HUDSON  SHAKESPEARE     act  ii 

the  most  courageous  fiend  bids  me  pack :  *  Via !  *  says  the 
fiend;  *away  P  says  the  fiend;  *  for  the  heavens,  rouse  up 
a  brave  mind/  says  the  fiend,  *  and  run.'  Well,  my  con- 
science, hanging  about  the  neck  of  my  heart,  says  very  wisely 
to  me,  *  My  honest  friend  Launcelot,  being  an  honest  man's 
son,'  —  or  rather  an  honest  woman's  son ;  for,  indeed,  my 
father  did  something  smack,  something  grow  to,  he  had  a 
kind  of  taste ;  —  well,  my  conscience  says,  *  Launcelot, 
budge  not.'  *  Budge,'  says  the  fiend.  *  Budge  not,'  says 
my  conscience.  *  Conscience,'  say  I,  'you  counsel  well'; 
*  Fiend,'  say  I, '  you  counsel  well ' :  to  be  ruled  by  my  con- 
science, I  should  stay  with  the  Jew  my  master,  who,  God 
bless  the  mark,  is  a  kind  of  devil ;  and,  to  run  away  from 

9.  Via  Rowe  |  fia  QqFf.  19.  well  Q2Ff  |  ill  Qi. 

9.  Via :  away  1  go  ahead !  An  Italian  exclamation  of  encourage- 
ment, sometimes  of  impatience,  used  in  Elizabethan.  London  by 
teamsters  and  watermen. 

10.  for  the  heavens.  A  petty  oath.  To  make  the  fiend  conjure 
Launcelot  to  do  a  thing  for  heaven's  sake,  is  a  bit  of  that  "acute 
nonsense  "  which  Barrow  makes  a  species  of  wit. 

15.  something  grow  to.  "A  household  phrase  applied  to  milk  when 
burnt  to  the  bottom  of  the  saucepan,  and  thence  acquiring  an  unpleas- 
ant taste."  —  Clar.  This  expression,  which  suggests  dishonesty,  is 
still  in  common  use  in  country  districts  in  Scotland  and  the  North 
of  England. 

20-21.  God  bless  the  mark.  Like  *  God  save  the  mark,'  an  apolo- 
getic phrase.  How  these  phrases  grew  into  such  use  or  acquired  such 
a  meaning  is  not  very  clear.  Bible  expressions  such  as  "  The  Lord  set 
a  mark  on  Cain,"  "  set  a  mark  on  the  foreheads  of  the  men,"  and 
the  many  similar  phrases  in  the  Apocalypse,  may  have  had  their 
influence.  Certain  congenital  marks  on  the  person  were  regarded  as 
ominous  or  ill-boding.  So  in  A  Midsummer  NighVs  Dream^  V,  i, 
418.  "Never  mole,  hare  lip,  nor  scar.  Nor  mark  prodigious."  And 
so  the  phrases  may  have  meant,  "  May  God  avert  the  evil  omen  I " 
or,  "  May  God  render  the  token  auspicious  1 " 


SCENE  II       THE   MERCHANT  OF  VENICE  37 

the  Jew,  I  should  be  ruled  by  the  fiend,  who,  saving  your 
reverence,  is  the  devil  himself.  Certainly  the  Jew  is  the 
very  devil  incarnal ;  and,  in  my  conscience,  my  conscience 
is  but  a  kind  of  hard  conscience,  to  offer  to  counsel  me  to 
stay  with  the  Jew.  The  fiend  gives  the  more  friendly  coun- 
sel :  I  will  run,  fiend ;  my  heels  are  at  your  commandment ; 
I  will  run.  28 

Enter  Old  Gobbo,  with  a  basket 

GoBBO.  Master  young  man,  you,  I  pray  you,  which  is 
the  way  to  master  Jew's?  30 

Launcelot.  \Aside'\  O  heavens,  this  is  my  true-begotten 
father  !  who,  being  more  than  sand-blind,  high-gravel-blind, 
knows  me  not :  I  will  try  confusions  with  him. 

Gobbo.  Master  young  gentleman,  I  pray  you,  which  is 
the  way  to  master  Jew's  ?  35 

24.  incarnal  Qi  |  incarnation   Q2  27-28.  commandment  QaFf  |  com- 

Ff.  mand  Qi. 

22-23.  saving  your  reverence.  Another  apologetic  expression.  This 
phrase  usually  introduced  something  coarse  or  profane ;  it  is  like 
the  modem  "  If  you  will  allow  me  to  say  so." 

24.  incarnal.  The  Folios  read  *  incarnation,'  but  the  First  Quarto 
reading,  adopted  in  the  text,  is  the  more  delicious  Gobboism  ;  as  the 
Folio  '  commandment '  in  1.  27  is  for  the  same  reason  preferable  to 
the  First  Quarto  'command.* 

32.  sand-blind.  Launcelot's  degrees  of  comparison  —  sand-blind, 
high-gravel-blind,  stone-blind  !  *  Sand,*  probably  a  popular  corruption 
of  Anglo-Saxon  sdm^  half.  Of  course,  Launcelot  makes  it  the  turn- 
ing-point of  a  quibble. 

33.  try  confusions.  To  *  try  conclusions  *  is  the  old  phrase  for  to 
*  try  experiments.*  It  is  not  quite  clear  whether  Launcelot's  *  con- 
fusions '  is  a  blunder  for  *  conclusions,*  or  whether  it  is  an  intentional 
parody  on  the  old  phrase,  by  way  of  joke. 


38  THE  NEW  HUDSON   SHAKESPEARE     act  ii 

Launcelot.  Turn  up  on  your  right  hand  at  the  next 
turning,  but,  at  the  next  turning  of  all,  on  your  left ;  marry, 
at  the  very  next  turning,  turn  of  no  hand,  but  turn  down 
indirectly  to  the  Jew's  house.  39 

GoBBO.  By  God's  sonties,  'twill  be  a  hard  way  to  hit. 
Can  you  tell  me  whether  one  Launcelot,  that  dwells  with 
him,  dwell  with  him  or  no?  42 

Launcelot.  Talk  you  of  young  Master  Launcelot  ?  — 
l^Aside^  Mark  me  now ;  now  will  I  raise  the  waters.  —  Talk 
you  of  young  Master  Launcelot?  45 

GoBBO.  No  master,  sir,  but  a  poor  man's  son  :  his  father, 
though  I  say  't,  is  an  honest  exceeding  poor  man,  and,  God 
be  thank'd,  well  to  live.  48 

36.  up  on  Qq  1  upon  Ff.  39.  to  Ff  |  unto  Qi. 

37.  marry.  Continually  used  as  a  colloquial  intensive,  having  the 
force  of  'verily,'  'indeed,'  or  'forsooth':  like  the  Latin  hercule  and 
edepol.    It  grew  from  a  custom  of  swearing  by  the  Virgin  Mary. 

40.  sonties.  Most  likely  a  corruption  either  of  '  saints  '  or  of  'sanc- 
tity.' Saunctes  is  an  old  form  of  '  saints,'  and  a  pronunciation  very 
similar  to  that  suggested  in  the  text  is  still  to  be  heard  in  Scotland. 

44.  raise  the  waters :  come  it  over  him,  have  some  sport  with 
him.  Cf.  the  colloquial  expression,  "get  a  rise  out  of  one."  The 
explanation,  "  raise  the  waters  in  old  Gobbo's  eyes,"  seems  strained 
and  out  of  place,  though  11.  59-66  may  seem  to  favor  it. 

46.  master.  This  word  formerly  meant  something  as  a  title  of  re- 
spect. "Whosoever  studieth  the  laws  of  the  realm,  who  studieth  in  the 
universities,  who  professeth  liberal  sciences  ;  and,  to  be  short,  who  can 
live  idly,  and  without  manual  labour,  and  will  bear  the  port,  charge,  and 
countenance  of  a  gentleman,  he  shall  be  called  'master.'" — The  Coin- 
monivealtk  of  England,  161 2.  Old  Gobbo  shrinks  from  giving  his  son 
the  title,  though  he  keeps  calling  him  '  master,'  not  knowing  who  he  is. 

48.  well  to  live.  While  this  expression  may  mean  '  sure  of  a  long 
life,'  the  common  use  of  the  phrase  and  the  spirit  of  the  passage 
rather  suggest  '  well  to  do.'  The  old  man  is  thus  humorously  made 
to  contradict  himself. 


SCENE  II       THE   MERCHANT  OF  VENICE  39 

Launcelot.  Well,  let  his  father  be  what  a  will,  we  talk 
of  young  Master  Launcelot.  5^ 

GoBBO.    Your  worship's  friend,  and  Launcelot,  sir. 

Launcelot.  But,  I  pray  you,  ergo,  old  man,  ergo,  I 
beseech  you,  talk  you  of  young  Master  Launcelot? 

GoBBO.    Of  Launcelot,  an't  please  your  mastership.       54 

Launcelot.  Ergo,  Master  Launcelot.  Talk  not  of  Mas- 
ter Launcelot,  father ;  for  the  young  gentleman  —  according 
to  Fates  and  Destinies,  and  such  odd  sayings,  the  Sisters 
Three,  and  such  branches  of  learning — is,  indeed,  deceas'd  ; 
or,  as  you  would  say  in  plain  terms,  gone  to  heaven.         59 

GoBBO.  Marry,  God  forbid  !  the  boy  was  the  very  staff 
of  my  age,  my  very  prop. 

Launcelot,  \^Asi{/e']  Do  I  look  like  a  cudgel  or  a  hovel- 
post,  a  staff  or  a  prop  ?  —  Do  you  know  me,  father  ?  63 

GoBBO.  Alack  the  day,  I  know  you  not,  young  gentle- 
man :  but,  I  pray  you,  tell  me,  is  my  boy  —  God  rest  his 
soul !  —  alive  or  dead  ? 

Launcelot.    Do  you  not  know  me,  father?  67 

GoBBO.    Alack,  sir,  I  am  sand-blind  ;  I  know  you  not. 

Launcelot.  Nay,  indeed,  if  you  had  your  eyes,  you 
might  fail  of  the  knowing  me  :  it  is  a  wise  father  that  knows 

51.  sir  Qq  |  omitted  in  Ff. 

49.  a :  he.  For  Chaucer's  use  of '  a,'  see  Kittredge's  Troilus^  p.  152. 

52.  ergo :  therefore.  Schmidt  catalogues  Launcelot's  foreign  words. 

63.  Do  you  know  me.  Dyce  thought  a  'not'  necessary  here — a 
suggestion  adopted  in  early  editions  of  Hudson's  Shakespeare. 

67.  It  was  customary  for  young  people  to  address  any  old  man  or 
woman  as  father  or  mother.  Hence  old  Gobbo  does  not  recognize  his 
son  on  being  called  father  by  him.  So,  in  King  Lear^  Edgar,  while 
leading  the  eyeless  Gloucester,  addresses  him  repeatedly  as  *  father,' 
without  stirring  any  suspicion  of  the  relationship  between  them. 


40  THE  NEW  HUDSON  SHAKESPEARE     act  ii 

his  own  child.  Well,  old  man,  I  will  tell  you  news  of  your 
son :  give  me  your  blessing.  Truth  will  come  to  light ; 
murder  cannot  be  hid  long,  —  a  man's  son  may ;  but,  in 
the  end,  truth  will  out.  74 

GoBBO.  Pray  you,  sir,  stand  up  :  I  am  sure  you  are  not 
Launcelot,  my  boy. 

Launcelot.  Pray  you,  let 's  have  no  more  fooling  about 
it,  but  give  me  your  blessing :  I  am  Launcelot,  your  boy 
that  was,  your  son  that  is,  your  child  that  shall  be.  79 

GoBBO.    I  cannot  think  you  are  my  son. 

Launcelot.  I  know  not  what  I  shall  think  of  that :  but 
I  am  Launcelot,  the  Jew's  man;  and  I  am  sure  Margery 
your  wife  is  my  mother.  83 

GoBBO.  Her  name  is  Margery,  indeed  :  I  '11  be  sworn,  if 
thou  be  Launcelot,  thou  art  mine  own  flesh  and  blood.  Lord 
worshipp'd  might  he  be  !  what  a  beard  hast  thou  got !  thou 
hast  got  more  hair  on  thy  chin  than  Dobbin  my  fill-horse 
has  on  his  tail.  88 

Launcelot.  It  should  seem,  then,  that  Dobbin's  tail 
grows  backward :  I  am  sure  he  had  more  hair  of  his  tail 
than  I  have  of  my  face,  when  I  last  saw  him. 

73-74.  in  the  end  Q2Ff  |  at  the  length  Qi. 

72.  give  me  your  blessing.  After  'blessing'  Dyce  inserted  the 
direction,  "Kneels,  with  his  back  to  Gobbo."  Quartos  and  Folios 
have  no  such  direction,  but  Gobbo's  amusing  mistake  about  hair  and 
beard,  11.  86-87,  shows  that  when  Launcelot  knelt  to  receive  the 
blessing  he  did  so  with  his  back  to  his  father. 

79.  Launcelot  probably  means  "  your  child  that  was,  your  boy 
that  is,  your  son  that  shall  be." 

85.  thou.  As  soon  as  Gobbo  recognizes  his  son,  the  '  you '  of  respect 
is  changed  to  the  '  thou  *  of  familiarity. 

87.  fill-horse :  a  horse  that  works  in  shafts.  *  Fill '  is  a  dialect 
form  of  *  thill.' 


SCENE  II       THE   MERCHANT  OF  VENICE  41 

GoBBO.  Lord,  how  art  thou  chang'd  !  How  dost  thou 
and  thy  master  agree?  I  have  brought  him  a  present. 
How  'gree  you  now?  94 

Launcelot.  Well,  well;  but,  for  mine  own  part,  as  I 
have  set  up  my  rest  to  run  away,  so  I  will  not  rest  till  I 
have  run  some  ground.  My  master  's  a  very  Jew  :  give  him 
a  present !  give  him  a  halter  :  I  am  famish'd  in  his  service ; 
you  may  tell  every  finger  I  have  with  my  ribs.  Father,  I  am 
glad  you  are  come  :  give  me  your  present  to  one  Master 
Bassanio,  who,  indeed,  gives  rare  new  liveries :  if  I  serve 
not  him,  I  will  run  as  far  as  God  has  any  ground.  —  O  rare 
fortune  !  here  comes  the  man  :  —  to  him,  father ;  for  I  am 
a  Jew,  if  I  serve  the  Jew  any  longer.  104 

Enter  Bassanio,  with  Leonardo  and  other  followers 

Bassanio.  You  may  do  so ;  but  let  it  be  so  hasted,  that 
supper  be  ready  at  the  farthest  by  five  of  the  clock.  See 
these  letters  delivered;  put  the  liveries  to  making;  and 
desire  Gratiano  to  come  anon  to  my  lodging.  108 

\Exit  a  Servant] 

Launcelot.    To  him,  father. 

GoBBO.    God  bless  your  worship  ! 

Bassanio.    Gramercy  !  would st  thou  aught  with  me ?    in 

96.  set  up  my  rest.  A  phrase  in  frequent  use  for  making  up  one's 
mind.  Said  to  be  taken  from  the  old  game  of  primero,  where  it 
meant  determination  to  stand  upon  the  cards  you  held  in  your  hand. 

102.  A  humorous  expression  from  any  one,  but  with  additional 
edge  and  flavor  from  a  Venetian.  In  Venice  proper  it  was  not  easy 
to  find  ground  enough  to  run  away  upon. 

III.  Gramercy :  many  thanks.  Fr.  grand  merci.  But  the  word  is 
often  used  as  an  interjection  of  surprise. 


42  THE  NEW  HUDSON  SHAKESPEARE    act  ii 

GoBBO.    Here  's  my  son,  sir,  a  poor  boy,  —  112 

Launcelot.  Not  a  poor  boy,  sir,  but  the  rich  Jew's  man ; 
that  would,  sir,  —  as  my  father  shall  specify,  — 

GoBBO.  He  hath  a  great  infection,  sir,  as  one  would  say, 
to  serve, —  116 

Launcelot.  Indeed,  the  short  and  the  long  is,  I  serve 
the  Jew,  and  have  a  desire,  —  as  my  father  shall  specify,  — 

GoBBO.  His  master  and  he — saving  your  worship's  rever- 
ence —  are  scarce  cater-cousins,  —  120 

Launcelot.  To  be  brief,  the  very  truth  is,  that  the  Jew 
having  done  me  wrong  doth  cause  me,  —  as  my  father,  being, 
I  hope,  an  old  man,  shall  frutify  unto  you,  — 

GoBBO.  I  have  here  a  dish  of  doves  that  I  would  bestow 
upon  your  worship  ;  and  my  suit  is,  —  125 

Launcelot.  In  very  brief,  the  suit  is  impertinent  to  my- 
self, as  your  worship  shall  know  by  this  honest  old  man  ;  and, 
though  I  say  it,  though  old  man,  yet,  poor  man,  my  father. 

Bassanio.   One  speak  for  both. — What  would  you? 

115.  infection.  A  Gobboism  for  'affection,'  i.e.  'desire.' 
120.  cater-cousins.  Attempts  have  been  made  in  recent  years  to 
connect  the  word  'cater'  etymologically  with  'cate,'  food,  and  with 
quHeur.  Johnson's  suggestion  that  it  is  from  quatre^  which  would 
make  'cater-cousins'  mean  'fourth  cousins,'  is  certainly  wrong.  Old 
Gobbo's  meaning  is  clear:  his  son  and  Shylock  are  not  on  friendly 
terms.     His  expression  carries  an  apology  with  it. 

123.  frutify.  A  Gobboism  for  'fructify,'  which  appears  to  have 
been  a  sort  of  cant  term  for  '  holding  forth '  (in  speech).  It  has 
been  suggested  that  *  frutify '  may  balance  '  specify '  ('  spicify,'  spice 
and  fruit),  1.  114. 

124.  "A  present  thus  given,  and  in  our  days  too,  and  of  doves,  is 
not  uncommon  in  Italy.  I  myself  have  partaken  there,  with  due 
relish,  in  memory  of  poor  old  Gobbo,  of  a  dish  of  doves,  presented 
by  the  father  of  a  servant."  —  C.  A.  Brown. 


SCENE  II       THE   MERCHANT  OF  VENICE  43 

Launcelot.    Serve  you,  sir.  130 

GoBBO.    That  is  the  very  defect  of  the  matter,  sir. 

Bassanio.    I  know  thee  well ;  thou  hast  obtain 'd  thy  suit : 
Shylock  thy  master  spoke  with  me  this  day, 
And  hath  preferred  thee,  if  it  be  pareferment 
To  leave  a  rich  Jew's  service,  to  become  135 

The  follower  of  so  poor  a  gentleman. 

Launcelot.  The  old  proverb  is  very  well  parted  between 
my  master  Shylock  and  you,  sir  :  you  have  the  grace  of  God, 
sir,  and  he  hath  enough.  139 

Bassanio.    Thou  speak'st  it  well.  —  Go,  father,  with  thy 
son.  — 
Take  leave  of  thy  old  master,  and  inquire 
My  lodging  out.    Give  him  a  livery 
More  guarded  than  his  fellows* :  see  it  done.  143 

Launcelot.  Father,  in.  —  I  cannot  get  a  service,  no ;  I 
have  ne'er  a  tongue  in  my  head.  —  Well,  if  any  man  in 
Italy  have  a  fairer  table  !  which  doth  offer  to  swear  upon  a 

134.  *  To  prefer '  is,  in  Elizabethan  English,  *  to  recommend  *  as 
well  as  'to  promote.'  Bassanio  plays  upon  the  two  senses  of  the  word. 

137.  The  old  proverb.  Clark  and  Wright  cite  here,  "  The  grace  of 
God  is  geir  enough"  {Ray^s  Proverbs^  1670).  The  use  of  'gear'  in 
1.  153  of  this  scene  may  strengthen  this  identification  of  the  proverb. 

142.  After  'out'  some  editions  introduce  the  direction,  'To  his 
followers.' 

143.  guarded :  trimmed  with  braid.    See  Murray. 

145.  After  '  Well '  some  editions  introduce  the  direction,  *  Look- 
ing on  his  palm.' 

145-146.  Launcelot,  applauding  himself  for  his  success  with 
Bassanio,  and  looking  into  the  palm  of  his  hand,  which  by  fortune- 
tellers is  called  the  '  table,'  breaks  out  into  reflection  :  "  Well,  if  any 
man  in  Italy  have  a  fairer  table,  which  not  only  promises,  but  offers 
to  swear  upon  a  book,  that  I  shall  have  good  fortune." 


44  THE  NEW  HUDSON  SHAKESPEARE     act  ii 

book,  I  shall  have  good  fortune  !  Go  to ;  here  's  a  simple 
line  of  life  !  here  's  a  small  trifle  of  wives  :  alas  !  fifteen 
wives  is  nothing  !  aleven  widows  and  nine  maids  is  a  simple 
coming-in  for  one  man ;  and  then  to  'scape  drowning  thrice, 
and  to  be  in  peril  of  my  life  with  the  edge  of  a  feather-bed, 
—  here  are  simple  'scapes  !  Well,  if  Fortune  be  a  woman, 
she 's  a  good  wench  for  this  gear.  —  Father,  come  ;  I  '11  take 
my  leave  of  the  Jew  in  the  twinkling  of  an  eye.  154 

\_Exeunt  Launcelot  and  Old  Gobbo] 

Bassanio.    I  pray  thee,  good  Leonardo,  think  on  this : 
These  things  being  bought  and  orderly  bestow' d, 
Return  in  haste,  for  I  do  feast  to-night 
My  best-esteem'd  acquaintance  :  hie  thee,  go.  158 

Leonardo.    My  best  endeavours  shall  be  done  herein. 

154.  of  an  eye  Qi  |  omitted  in  Q2Ff. 

147-148.  The  line  in  the  palm  passing  round  the  ball  of  the  thumb, 
technically  known  as  the  Mount  of  Venus,  was  called  by  sixteenth 
century  palmists,  the  line  of  life  ;  that  which  runs  from  the  forefinger 
below  the  other  fingers  to  the  side  of  the  hand,  was  the  line  of  for- 
tune. "  Long  and  deep  lines  from  the  Mount  of  Venus  towards  the 
line  of  life  signifieth  so  many  wives  .  .  .  These  lines,  visible  and 
deep,  so  many  wives  the  party  shall  have."  —  Saunders,  Chiromancie. 
Launcelot,  like  Subtle  in  Ben  Jonson's  The  Alchemist  (cf.  the  speech 
beginning  '  The  thumb,  in  chiromancy,  we  give  Venus'),  was  an  adept 
in  the  art  of  chiromancy,  which  in  his  time  had  its  learned  profes- 
sors and  practitioners  no  less  than  astrology.  "A  simple  line  of  life  " 
written  in  the  palm  was  cause  of  exultation  to  wiser  ones  than  young 
Gobbo,  though  *  simple  '  here  is  doubtless  ironical,  and  balances  the 
*  simple'  in  1.  149. 

149.  aleven.  "A  vulgarism  (and  archaism)  for  eleven."  —  Dyce. 
The  expression  appears  in  Q2  and  Fi  as  'a  leven,'  suggesting  the 
analogy  of  '  a  dozen.' 

151.  the  edge  of  a  feather-bed.  This  is  a  humorous  variation  of  the 
phrase,  "  the  edge  of  the  sword." 


SCENE  II       THE   MERCHANT  OF  VENICE  45 

Enter  Gratiano 

Gratiano.    Where  is  your  master? 

Leonardo.  Yonder,  sir,  he  walks. 

Gratiano.    Signior  Bassanio,  —  L         J 

Bassanio.    Gratiano  !  162 

Gratiano.    I  have  a  suit  to  you. 

Bassanio.  You  have  obtained  it. 

Gratiano.  You  must  not  deny  me  :  I  must  go  with  you 
to  Belmont.  165 

Bassanio.    Why,  then  you  must.   But  hear  thee,  Gratiano  : 
Thou  art  too  wild,  too  rude,  and  bold  of  voice,  — 
Parts  that  become  thee  happily  enough. 
And  in  such  eyes  as  ours  appear  not  faults ; 
But  where  thou  art  not  known,  why,  there  they  show      170 
Something  too  liberal.    Pray  thee,  take  pain 
To  allay  with  some  cold  drops  of  modesty 
Thy  skipping  spirit ;  lest,  through  thy  wild  behaviour, 
I  be  misconstru'd  in  the  place  I  go  to. 
And  lose  my  hopes. 

Gratiano.  Signior  Bassanio,  hear  me :  i75 

If  I  do  not  put  on  a  sober  habit, 

160.  Scene  III  Pope.  174.  misconstru'd  |  mlsconstred 

170.  thou  art  Qq  I  they  are  Ff.  Qq  |  misconsterd  Fi. 

173.  lest  Q1F4  I  least  Q2F1.  175.  lose  Qi  |  loose  Q2Ff. 

164.  Hanmer  and  Capell  inserted  '  Nay  *  at  the  beginning  of 
Gratiano's  speech  and  printed  it  as  verse  —  an  arrangement  followed 
in  the  earlier  editions  of  Hudson's  Shakespeare. 

166.  hear  thee.  See  Abbott,  §  212.  Professor  Gummere  declares 
Abbott's  explanation  to  be  "certainly  wrong,"  and  refers  to  "the 
excellent  discussion  of  the  substitution  of  *  thee '  for  *  thou  ' "  given 
by  Jespersen  in  Progress  in  Language. 

176.  habit:  demeanor. 


46  THE  NEW  HUDSON  SHAKESPEARE     act  ii 

Talk  with  respect,  and  swear  but  now  and  then, 

Wear  prayer-books  in  my  pocket,  look  demurely ; 

Nay  more,  while  grace  is  saying,  hood  mine  eyes 

Thus  with  my  hat,  and  sigh,  and  say  *  amen  ';  i8o 

Use  all  the  observance  of  civility. 

Like  one  well  studied  in  a  sad  ostent 

To  please  his  grandam,  never  trust  me  more. 

Bassanio.    Well,  we  shall  see  your  bearing.  184 

Gratiano.  Nay,  but  I  bar  to-night:  you  shall  not  gage  me 
By  what  we  do  to-night. 

Bassanio.  No,  that  were  pity  : 

I  would  entreat  you  rather  to  put  on 
Your  boldest  suit  of  mirth,  for  we  have  friends 
That  purpose  merriment.    But  fare  you  well : 
I  have  some  business.  190 

Gratiano.    And  I  must  to  Lorenzo  and  the  rest : 
But  we  will  visit  you  at  supper- time.  l£xei/;i/'] 

Scene  IIL    T/ie  same.    A  room  in  Shylock's  house 

Enter  Jessica  and  Launcelot 

Jessica.    I  am  sorry  thou  wilt  leave  my  father  so : 
Our  house  is  hell ;  and  thou,  a  merry  devil. 

Scene  III  Capell  I  Scene  IV  Pope.         I  Enter  Jessica  and  the  Clown  Qq 
Enter  Jessica  and  Launcelot       Ff. 

180.  People  of  rank  used  to  keep  their  hats  on  while  eating 
dinner.  While  grace  was  being  said  they  were  expected  to  take  the 
hat  off  and  hold  it  over  the  eyes. 

181.  civility:  good  breeding.     "  Civilization,  refinement.*'  —  Clar. 

182.  sad  ostent :  serious  appearance.  "  Show  of  staid  .  .  .  be- 
haviour." —  Johnson. 


SCENE  III      THE   MERCHANT  OF  VENICE  47 

Didst  rob  it  of  some  taste  of  tediousness. 

But  fare  thee  well ;  there  is  a  ducat  for  thee : 

And,  Launcelot,  soon  at  supper  shalt  thou  see  S 

Lorenzo,  who  is  thy  new  master*s  guest : 

Give  him  this  letter ;  do  it  secretly ; 

And  so  farewell :  I  would  not  have  my  father 

See  me  in  talk  with  thee.  9 

Launcelot.  Adieu !  tears  exhibit  my  tongue.  Most 
beautiful  pagan,  most  sweet  Jew  !  if  a  Christian  do  not 
play  the  knave  and  get  thee,  I  am  much  deceiv'd.  But, 
adieu  :  these  foolish  drops  do  something  drown  my  manly 
spirit :  adieu.  14 

Jessica.  Farewell,  good  Launcelot.  —  [_Exit  Launcelot] 
Alack,  what  heinous  sin  is  it  in  me 
To  be  asham'd  to  be  my  father's  child  ! 
But  though  I  am  a  daughter  to  his  blood, 
I  am  not  to  his  manners.    O  Lorenzo, 
If  thou  keep  promise,  I  shall  end  this  strife,  20 

Become  a  Christian,  and  thy  loving  wife  !  \_Exit] 

9.  me  in  talk  Qq  |  me  talk  Ff.  13.  something  Qq  |  somewhat  Ff. 
11.  do  QqFi  I  did  F2F3F4. 

5.  soon  at.  Here  ♦  soon '  has  the  effect  of  emphasis,  as  in  The 
Comedy  of  Errors^  I,  ii,  26;  III,  ii,  179  ;  Richard  III^  IV,  iii,  31. 

10.  exhibit.  Most  probably  a  Gobboism  for  '  inhibit '  or  as  Halli- 
well  suggested,  '  prohibit.'  But  the  meaning  may  be,  as  Eccles  put 
it :  "  My  tears  express  what  my  tongue  should,  if  sorrow  would 
permit  it." 

11.  The  spirit  of  this  scene,  Jessica's  reference  to  Lorenzo 
when  giving  Launcelot  the  letter,  and  the  closing  words  of  her 
soliloquy,  sufficiently  justify  the  reading  of  all  the  Quartos  and  the 
First  Folio. 

16.  alack.  See  Skeat  for  an  interesting  note  as  to  derivation. 


48  THE   NEW  HUDSON  SHAKESPEARE    act  n 

Scene  IV.    The  same.    A  street 
Enter  Gratiano,  Lorenzo,  Salarino,  and  Salanio 

Lorenzo.    Nay,  we  will  slink  away  in  supper-time, 
Disguise  us  at  my  lodging,  and  return 
All  in  an  hour. 

Gratiano.    We  have  not  made  good  preparation. 

Salarino.    We  have  not  spoke  us  yet  of  torch-bearers.   5 

Salanio.    'T  is  vile,  unless  it  may  be  quaintly  order'd, 
And  better  in  my  mind  not  undertook. 

Lorenzo.  'T  is  now  but  four  o'clock  :  we  have  two  hours 
To  furnish  us.  — 

Enter  Launcelot,  with  a  letter 

Friend  Launcelot,  what 's  the  news  ? 

Launcelot.  And  it  shall  please  you  to  break  up  this,  it 
shall  seem  to  signify.  n 

Lorenzo.    I  know  the  hand  :  in  faith,  't  is  a  fair  hand ; 
And  whiter  than  the  paper  it  writ  on 
Is  the  fair  hand  that  writ. 

Gratiano.  Love-news,  in  faith. 

Launcelot.    By  your  leave,  sir.  15 

Scene  IV  Capell  |  Scene  V  Pope.  5.  us  QqFiF2F8  I  as  F4. 

2-3.  Printed  as  prose  QqFf.  lo-ii.  it  shall  Qq  |  shall  it  Fi. 

5.  us.  Ethical  dative,  if  not  a  misprint  for  *as/  The  line  means, 
we  have  not  yet  bespoken  torch-bearers. 

6.  quaintly:  noticeably — not  derived  from  compUis^  but,  through 
Old  Fr.  coint^  from  cognitusy  and  connotes  the  idea  of  attracting 
attention. 

10.  And.    See  note,  p.  19,  1.  80.  —  break  up  :  break  the  seal  of. 

13.  paper  it  writ.  Hanmer  suggested  the  emendation  '  paper  that 
it  writ,'  and  this  reading  was  adopted  in  early  editions  of  Hudson's 
Shakespeare. 


SCE>NE  IV       THE   MERCHANT  OF  VENICE  49 

Lorenzo.    Whither  goest  thou? 

Launcelot.  Marry,  sir,  to  bid  my  old  master  the  Jew  to 
sup  to-night  with  my  new  master  the  Christian. 

Lorenzo.    Hold  here,  take  this  :  tell  gentle  Jessica 
I  will  not  fail  her ;  speak  it  privately ;  20 

Go.  —  Gentlemen,  \_Extt  Launcelot] 

Will  you  prepare  you  for  this  masque  to-night? 
I  am  provided  of  a  torch-bearer. 

Salarino.    Ay,  marry,  I  41  be  gone  about  it  straight. 

Salanio.    And  so  will  I. 

Lorenzo.  Meet  me  and  Gratiano  25 

At  Gratiano^s  lodging  some  hour  hence. 

Salarino.    T  is  good  we  do  so. 

\_Exeunt  Salarino  and  Salanio] 

Gratiano.    Was  not  that  letter  from  fair  Jessica? 

Lorenzo.  I  must  needs  tell  thee  all :  She  hath  directed 
How  I  shall  take  her  from  her  father's  house ;  30 

What  gold  and  jewels  she  is  furnish'd  with ; 
What  page's  suit  she  hath  in  readiness. 
If  e'er  the  Jew  her  father  come  to  heaven, 
It  will  be  for  his  gentle  daughter's  sake ; 
And  never  dare  misfortune  cross  her  foot,  35 

Unless  she  do  it  under  this  excuse. 
That  she  is  issue  to  a  faithless  Jew. 
Come,  go  with  me  :  peruse  this  as  thou  goest. 
Fair  Jessica  shall  be  my  torch-bearer.  \_Exeunt\ 

23.  provided  of.  "  We  still  retain  '  of '  with  verbs  of  construction  and 
adjectives  of  fulness;  but  the  Elizabethans  retained  'of  with  verbs  of 
fulness  also."  —  Abbott, §  171.  Cf.  V,i,297;  Macbeth^l.n,  13;  Henry  V, 
III,  vii,  9.  In  Bacon's  The  Advancement  of  Learning  we  have  :  "  He 
is  invested  of  a  precedent  disposition  to  conform  himself  thereunto." 

37.  faithless:  unbelieving.  Cf.  "O  faithless  generation!"  — 
Marky  ix,  19. 


so  THE  NEW  HUDSON  SHAKESPEARE     act  n 

Scene  V.     The  same.    Before  Shylock's  house 
Enter  Shylock  and  Launcelot 

Shylock.    Well,  thou  shalt  see,  thy  eyes  shall  be  thy  judge. 
The  diiference  of  old  Shylock  and  Bassanio  :  — 
What,  Jessica  !  —  thou  shalt  not  gormandize, 
As  thou  hast  done  with  me,  —  what,  Jessica  !  — 
And  sleep  and  snore,  and  rend  apparel  out.  —  5 

Why,  Jessica,  I  say  ! 

Launcelot.  Why,  Jessica  ! 

Shylock.    Who  bids  thee  call?  1  do  not  bid  thee  call. 

Launcelot.  Your  worship  was  wont  to  tell  me  I  could 
do  nothing  without  bidding. 

Better  Jessica 

Jessica.    Call  you?  what  is  your  will?  ro 

Shylock.    I  am  bid  forth  to  supper,  Jessica : 

There  are  my  keys.  —  But  wherefore  should  I  go? 

I  am  not  bid  for  love  ;  they  flatter  me  : 

But  yet  I  '11  go  in  hate,  to  feed  upon 

The  prodigal  Christian.  —  Jessica,  my  girl,  15 

Look  to  my  house.  —  I  am  right  loth  to  go  : 

There  is  some  ill  a-brewing  towards  my  rest. 

For  I  did  dream  of  money-bags  to-night. 

Scene  V  Capell  I  Scene  VI  Pope.  8-g.  Prose  in  Qi  |  verse  in  Q2Ff. 

14-15.  In  I,  ill,  33,  Shylock  says,  "  I  will  not  eat  with  you,  drink 
with  you,  nor  pray  with  you."  Did  Shakespeare  make  a  slip,  or  did 
he  mean  to  put  the  Jew  at  odds  with  himself  out  of  hatred  to  the 
Christian  ?    Cf.  the  oversight  noted  on  p.  21,  1.  114. 

18.  to-night :  last  night.  See  Abbott,  §  190.  Qi.  Julius  Ctssar^  II,  ii, 
76;  III,  iii,  I.    In  1.  36  *  to-night'  is  used  in  the  modem  sense. 


SCENE  V  THE   MERCHANT  OF  VENICE  51 

Launcelot.  I  beseech  you,  sir,  go :  my  young  master 
doth  expect  your  reproach.  20 

Shylock.    So  do  I  his. 

Launcelot.  And  they  have  conspired  together,  —  I  will 
not  say  you  shall  see  a  masque ;  but  if  you  do,  then  it  was 
not  for  nothing  that  my  nose  fell  a-bleeding  on  Black- 
Monday  last  at  six  o'clock  i'  the  morning,  falling  out  that 
year  on  Ash-Wednesday  was  four  year  in  the  afternoon.     26 

Shylock.    What,  are  there  masques?  —  Hear  you  me, 
Jessica : 
Lock  up  my  doors ;  and,  when  you  hear  the  drum. 
And  the  vile  squealing  of  the  wry-neck'd  fife, 
Clamber  not  you  up  to  the  casements  then,  30 

Nor  thrust  your  head  into  the  public  street, 
To  gaze  on  Christian  fools  with  varnish 'd  faces ; 

27.  you  omitted  in  Qi.  29.  squealing  Q2Ff  |  squeaking  Qi. 

20.  reproach.  A  Gobboism  for*  approach.'  Shylock  chooses  to  take 
it  in  the  sense  of  'reproach.*  And  he  expects  Bassanio's  reproach 
through  the  bankruptcy  of  Antonio.  This  may  have  some  bearing 
on  the  question  whether  Shylock  has  any  hand  in  getting  up  the 
reports  of  Antonio's  "  losses  at  sea." 

24-25.  Black-Monday :  Easter-Monday.  The  origin  of  the  name  is 
thus  explained  by  Stow:  "  In  the  34th  of  Edward  III,  the  14th  of 
April,  and  the  morrow  after  Easter-day,  King  Edward,  with  his  host,, 
lay  before  the  city  of  Paris:  which  day  was  full  dark  of  mist  and  hail, 
and  so  bitter  cold,  that  many  men  died  on  their  horses'  backs  with  the 
cold.    Wherefore  unto  this  day  it  hath  been  called  the  Black  Mo7tday** 

29.  wry-neck'd  fife.  There  has  been  some  dispute  whether  this 
means  the  instrument  or  the  musician.  Boswell  cited  a  passage 
from  Bamabe  Rich's  Aphorisms^  161 8,  which  appears  to  settle  the 
matter:  "A  fife  is  a  wry-neckt  musician,  for  he  always  looks  away 
from  his  instrument." 

32.  vamish'd  faces.  This  alludes  probably  to  the  painted  masks,, 
but  contains  also  an  insinuation  of  duplicity,  or  double-facedness. 


52  THE   NEW  HUDSON  SHAKESPEARE     act  it 

But  stop  my  house's  ears,  —  I  mean  my  casements : 

Let  not  the  sound  of  shallow  foppery  enter 

My  sober  house.  —  By  Jacob's  staff,  I  swear  35 

I  have  no  mind  of  feasting  forth  to-night : 

But  I  will  go.  —  Go  you  before  me,  sirrah ; 

Say  I  will  come. 

Launcelot.  I  will  go  before,  sir.  —  Mistress,  look  out  at 
window  for  all  this ;  40 

There  will  come  a  Christian  by, 
Will  be  worth  a  Jewess'  eye.  [^jExiY\ 

Shylock.   What  says  that  fool  of  Hagar's  offspring,  ha? 

Jessica.  His  words  were,  *  Farewell,  mistress ' ;  nothing  else. 

Shylock.  The  patch  is  kind  enough ;  but  a  huge  feeder, 
Snail-slow  in  profit,  and  he  sleeps  by  day  46 

More  than  the  wild-cat :  drones  hive  not  with  me ; 
Therefore  I  part  with  him ;  and  part  with  him 

42.  Jewess*   Pope   Camb  [  Jewes  46.  and  he  Qq  |  but  he  Fi  |  but 

QqFiF2  I  Jew's  F3F4.  F2F3F4  Rowe. 

35.  Jacob's  staff.    Genesis,  xxxii,  10;  Hebrews,  xi,  21. 

39-40.  In  Quartos  and  Folios  this  speech  of  Launcelot^s  is  printed: 

I  will  go  before  sir. 

Mistress  look  out  at  window  for  all  this. 

Walker  suggested  the  emendation,  "  I  '11  go  before  you,  sir,"  adopted 
in  previous  editions  of  Hudson's  Shakespeare. 

42.  Pope  suggested  *  Jewess' '  as  the  reading  here  ;  but  the  Quartos 
and  First  Folio  have  *  Jewes,'  which  may  mean  either  *  Jewess' '  or 
*  Jew's.*  The  worth  of  a  Jew's  eye  was  the  price  with  which  the 
Jews  used  to  buy  themselves  off  from  mutilation.  The  expression 
became  proverbial,  and  was  kept  up  after  its  original  meaning  was  lost. 

45.  This  use  of  '  patch  '  sprang  from  the  motley  or  patched  dress 
worn  by  professional  fools.  Hence  a  general  term  of  contempt.  So 
used  in  A  Midsummer  Nighfs  Dream,  IH,  ii,  9 ;  The  Comedy  of 
Errors,  III,  i,  32  ;  III,  i,  36,  etc.    Cf.  *  cross-patch.' 


SCENE  VI      THE   MERCHANT  OF  VENICE  53 

To  one  that  I  would  have  him  help  to  waste 
His  borrow'd  purse.  — Well,  Jessica,  go  in  :  5^ 

Perhaps  I  will  return  immediately  : 
Do  as  I  bid  you ;  shut  doors  after  you : 
Fast  bind,  fast  find,  — 

A  proverb  never  stale  in  thrifty  mind.  [^£xtY\ 

Jessica.    Farewell ;  and  if  my  fortune  be  not  crost,       55 

I  have  a  father,  you  a  daughter,  lost.  [Exit] 

Scene  VL     Tke  same 
Enter  Gratiano  and  Salarino,  masqued 

Gratiano.  This  is  the  pent-house  under  which  Lorenzo 
Desir'd  us  to  make  stand. 

Salarino.  His  hour  is  almost  past. 

Gratiano.    And  it  is  marvel  he  out-dwells  his  hour, 
For  lovers  ever  run  before  the  clock. 

Salarino.    O,  ten  times  faster  Venus'  pigeons  fly  5 

To  seal  love's  bonds  new-made  than  they  are  wont. 
To  keep  obliged  faith  unforfeited  ! 

Gratiano.    That  ever  holds.    Who  riseth  from  a  feast 
With  that  keen  appetite  that  he  sits  down? 
Where  is  the  horse  that  doth  untread  again  10 

52-53.  One  line  in  Q2Ff.  a.  make  stand  Qq  |  make  a  stand  Ff. 

Scene  VI  Capell  |  Scene  Vll  Pope.      6.  seal  Qq  |  steal  Ff. 

Scene  VI.  In  Halliwell,  in  Dyce,  and  in  previous  editions  of  Hud- 
son's Shakespeare,  there  was  no  new  scene  here. 

5.  In  classic  fable  Venus  rode  the  air  in  a  chariot  drawn  by 
doves.    Cf.  The  Tempest,  IV,  i,  94. 

9.  For  the  omission  of  the  preposition  in  relative  sentences,  see 
Abbott,  §  394. 


54  THE  NEW  HUDSON  SHAKESPEARE     act  ii 

His  tedious  measures  with  the  unbated  fire 
That  he  did  pace  them  first?    All  things  that  are, 
Are  with  more  spirit  chased  than  enjoy'd. 
How  like  a  younker  or  a  prodigal 

The  scarfed  bark  puts  from  her  native  bay,  15 

Hugg'd  and  embraced  by  the  strumpet  wind  ! 
How  like  the  prodigal  doth  she  return, 
With  over-weather'd  ribs,  and  ragged  sails. 
Lean,  rent,  and  beggar'd  by  the  strumpet  wind  !  19 

Salarino.    Here  comes  Lorenzo  :  more  of  this  hereafter. 

Enter  Lorenzo 

Lorenzo.  Sweet  friends,  your  patience  for  my  long  abode ; 
Not  I,  but  my  affairs,  have  made  you  wait : 
When  you  shall  please  to  play  the  thieves  for  wives, 
I  '11  watch  as  long  for  you  then.    Approach ; 
Here  dwells  my  father  Jew.    Ho  1  who  's  within?  25 

Enter  Jessica,  above,  in  bofs  clothes 

Jessica.    Who  are  you?    Tell  me,  for  more  certainty, 
Albeit  I  '11  swear  that  I  do  know  your  tongue. 

Lorenzo.    Lorenzo,  and  thy  love. 

Jessica.    Lorenzo,  certain  ;  and  my  love,  indeed  ; 
For  who  love  I  so  much?    And  now  who  knows  30 

But  you,  Lorenzo,  whether  I  am  yours? 

14.  younker  Rowe  |  younger  Qq  17.  the  prodigal  Qq  I  a  prodigal 
I  yonger  F1F2.                                            Ff. 

15.  scarfed :    decked  with  flags.    Cf.  All 's  Well  that  Ends  IVglL 
II,  iii,  214. 

21.  abode:    stay,  delay.    So  in   Cymbeline,  I,  vi,  53:   "My  man's 
abode  where  I  did  leave  him." 


SCENE  VI       THE   MERCHANT  OF  VENICE  55 

Lorenzo.    Heaven  and    thy  thoughts   are  witness  that 
thou  art. 

Jessica.    Here,  catch  this  casket ;  it  is  worth  the  pains. 
I  am  glad  't  is  night,  you  do  not  look  on  me, 
For  I  am  much  asham'd  of  my  exchange  :  35 

But  love  is  blind,  and  lovers  cannot  see 
The  pretty  follies  that  themselves  commit; 
For,  if  they  could,  Cupid  himself  would  blush 
To  see  me  thus  transformed  to  a  boy. 

Lorenzo.    Descend,  for  you  must  be  my  torch-bearer.  40 

Jessica.    What,  must  I  hold  a  candle  to  my  shames? 
They  in  themselves,  good  sooth,  are  too  too  light. 
Why,  't  is  an  office  of  discovery,  love ; 
And  I  should  be  obscur'd. 

Lorenzo.  So  are  you,  sweet, 

Even  in  the  lovely  garnish  of  a  boy.  45 

But  come  at  once  ; 

For  the  close  night  doth  play  the  runaway, 
And  we  are  stay'd  for  at  Bassanio's  feast. 

Jessica.    I  will  make  fast  the  doors,  and  gild  myself 
With  some  more  ducats,  and  be  with  you  straight.  50 

\_Exit  above\ 

Gratiano.    Now,  by  my  hood,  a  Gentile,  and  no  Jew. 

44.  are  you  Qq  |  you  are  Ff.  51.  Gentile  Q1Q8Q4F2F3F4  I  gentle 

50.  more  Ff  |  mo  Q1Q2.  Q2F1. 

35.  exchange  :  change  of  dress.    Referring  to  her  masculine  attire. 

42.  light.    Used  here  punningly  in  a  material  and  a  moral  sense. 

43.  A  torch-bearer's  office  is  to  discover. 

51.  Gratiano  is  disguised  with  a  mask,  and  in  swearing  by  his  hood 
he  implies  a  likening  of  himself  to  a  hooded  monk  swearing  by  his 
monastic  character.  There  is  also  a  play  on  the  word  *  Gentile,' which, 
as  Johnson  pointed  out,  signifies  both  a  heathen  and  one  well-bom. 


56  THE  NEW  HUDSON  SHAKESPEARE     act  u 

Lorenzo.    Beshrew  me  but  I  love  her  heartily ; 
For  she  is  wise,  if  I  can  judge  of  her ; 
And  fair  she  is,  if  that  mine  eyes  be  true ; 
And  true  she  is,  as  she  hath  prov'd  herself;  50 

And  therefore,  like  herself,  wise,  fair,  and  true, 
Shall  she  be  placed  in  my  constant  soul. 

Enter  Jessica,  below 

What,  art  thou  come  ?  —  On,  gentlemen ;  away  ! 
Our  masquing  mates  by  this  time  for  us  stay. 

\Exit^  with  Jessica  and  Salarino] 

Enter  Antonio 

Antonio.    Who  's  there  ?  60 

Gratiano.    Signior  Antonio  ! 

Antonio.    Fie,  fie,  Gratiano  !  where  are  all  the  rest? 
*T  is  nine  o'clock ;  our  friends  all  stay  for  you. 
No  masque  to-night ;  the  wind  is  come  about ; 
Bassanio  presently  will  go  aboard  :  65 

I  have  sent  twenty  out  to  seek  for  you. 

Gratiano.    I  am  glad  on  *t :  I  desire  no  more  delight 
Than  to  be  under  sail  and  gone  to-night.  \Exeunt'\ 

66.  Omitted  in  Qi.  67-68.  Given  to  Antonio  in  Qi. 

52.  Beshrew  me  :  curse  me.    So  Chaucer  uses  shrewe  in  this  sense, 
as  in  The  Nonne  Preestes  Tale : 

"  Nay  than,"  quod  he,  "  I  shrewe  us  bothe  two, 
And  first  I  shrewe  my-self,  bothe  blood  and  bones." 

After  such  an  expression  as  *  beshrew  me,*  '  but '  is  not  adversative, 
but  means  'if  not.'    See  Abbott,  §  126. 

66.  "  The  omission  of  a  whole  line  here  in  Qi,  and  continuing 
Gratiano's  speech  to  Antonio,  is  an  inexcusable  defect."  —  Furness. 


SCENE  VII     THE   MERCHANT  OF  VENICE  57 

Scene  VII.    Belmont.    A  room  in  Portia's  house 

Flourish  of  cornets.     Enter  Portia,  with  the  Prince  of 
Morocco,  and  their  trains 

Portia.  Go  draw  aside  the  curtains,  and  discover 
The  several  caskets  to  this  noble  prince.  — 
Now  make  your  choice. 

Morocco.    The  first,  of  gold,  who  this  inscription  bears, 

*  Who  chooseth  me  shall  gain  what  many  men  desire; '        5 
The  second,  silver,  which  this  promise  carries, 

*  Who  chooseth  me  shall  get  as  much  as  he  deserves ; ' 
This  third,  dull  lead,  with  warning  all  as  blunt, 

*  Who  chooseth  me  must  give  and  hazard  all  he  hath.' 
How  shall  I  know  if  I  do  choose  the  right?  10 

Portia.    The  one  of  them  contains  my  picture,  prince : 
If  you  choose  that,  then  I  am  yours  withal. 

Morocco.    Some  god  direct  my  judgment !  Let  me  see ; 
I  will  survey  the  inscriptions  back  again. 
What  says  this  leaden  casket?  15 

*  Who  chooseth  me  must  give  and  hazard  all  he  hath.* 
Must  give,  —  for  what?  for  lead?  hazard  for  lead? 
This  casket  threatens.    Men  that  hazard  all 

Do  it  in  hope  of  fair  advantages : 

A  golden  mind  stoops  not  to  shows  of  dross  ;  20 

I  '11  then  nor  give  nor  hazard  aught  for  lead. 

Scene    VII    Capell  |  Scene  10.  This  line  is  repeated  in  F1F2. 

VIII  Pope  I  Scene  VI  Halliwell.  18.  threatens.  Men  Rowe  |  threatens 

5.  many  Qq  |  omitted  in  Ff.         men  QqFf. 

4.  who.    Pope  substituted  *  which.'    But  *who'  and  *  which*  were 
interchangeable  in  the  sixteenth  century.    See  Abbott,  §  264. 


58  THE  NEW  HUDSON  SHAKESPEARE     act  ii 

What  says  the  silver  with  her  virgin  hue? 

*  Who  chooseth  me  shall  get  as  much  as  he  deserves/ 
As  much  as  he  deserves !  Pause  there,  Morocco, 

And  weigh  thy  value  with  an  even  hand  :  25 

If  thou  be'st  rated  by  thy  estimation, 

Thou  dost  deserve  enough ;  and  yet  enough 

May  not  extend  so  far  as  to  the  lady : 

And  yet  to  be  afeard  of  my  deserving 

Were  but  a  weak  disabling  of  myself.  30 

As  much  as  I  deserve  !    Why,  that 's  the  lady  : 

I  do  in  birth  deserve  her,  and  in  fortunes, 

In  graces,  and  in  qualities  of  breeding ; 

But  more  than  these,  in  love  I  do  deserve. 

What  if  I  stray'd  no  further,  but  chose  here?  35 

Let 's  see  once  more  this  saying  grav'd  in  gold  : 

*  Who  chooseth  me  shall  gain  what  many  men  desire.' 
Why,  that 's  the  lady ;  all  the  world  desires  her : 
From  the  four  corners  of  the  earth  they  come. 

To  kiss  this  shrine,  this  mortal  breathing  saint ;  40 

35.  further  |  farther  QqFf.  mortal -breathing   Dyce   Walker 

40.  mortal  breathing  QqFf  |  Camb. 

22.  virgin.    An  allusion  to  the  silver  light  of  the  moon,  or  rather 
to  the  virgin  Diana,  who  was  the  moon  goddess  of  old  mythology. 
26.  be'st.    See  Abbott,  §  298. 
30.  disabling  :  disparagement.    Cf.  Montrose's  My  Dear  and  Only 

He  either  fears  his  fate  too  much 

Or  his  deserts  are  small, 
That  dares  not  put  it  to  the  touch 

To  gain  or  lose  it  all. 

40.  Christians  often  made  long  prilgrimages  to  kiss  the  shrine  of 
a  saint.  And  Portia,  enshrining  so  much  excellence,  is  compared  to 
such  a  shrine.  *  Shrine,'  however,  was  sometimes  used  for  '  statue,* 
and  so  it  may  be  here.    Cf.  Cymbeline^  V,  v,  164. 


SCENE  VII     THE   MERCHANT  OF  VENICE  59 

The  Hyrcanian  deserts  and  the  vasty  wilds 

Of  wide  Arabia  are  as  throughfares  now 

For  princes  to  come  view  fair  Portia  : 

The  watery  kingdom,  whose  ambitious  head 

Spits  in  the  face  of  heaven,  is  no  bar  45 

To  stop  the  foreign  spirits ;  but  they  come. 

As  o'er  a  brook,  to  see  fair  Portia. 

One  of  these  three  contains  her  heavenly  picture. 

Is 't  like  that  lead  contains  her?    *T were  damnation 

To  think  so  base  a  thought :  it  were  too  gross  50 

To  rib  her  cerecloth  in  the  obscure  grave. 

Or  shall  I  think  in  silver  she 's  immur'd, 

Being  ten  times  undervalu'd  to  tried  gold  ? 

O  sinful  thought !    Never  so  rich  a  gem 

Was  set  in  worse  than  gold.    They  have  in  England  55 

A  coin  that  bears  the  figure  of  an  angel 

Stamped  in  gold,  but  that  *s  insculp'd  upon ; 

But  here  an  angel  in  a  golden  bed 

Lies  all  within.  —  Deliver  me  the  key  : 

Here  do  I  choose,  and  thrive  I  as  I  may  !  60 

41.  vasty  Qi  |  vaste  F1F2  I  vast  F8F4.  45.  spits  Rowe  |  spets  QqFf. 

41.  Hyrcanian  deserts.  A  wilderness  of  indefinite  extent  south 
of  the  Caspian  Sea,  often  mentioned  in  old  writers  as  a  habitat  of 
tigers.    Cf.  Macbeth^  III,  iv,  loi  ;  Hamlet^  II,  ii,  472. 

51.  Lead  were  unworthy  to  inclose  even  her  cerements,  or  her 
shroud. 

53.  This  is  said  to  have  been  just  the  ratio  of  silver  and  gold 
toward  the  close  of  EUzabeth's  reign. 

56.  The  *  angel '  was  so  called  from  its  having  on  one  side  a  figure 
of  Michael  piercing  the  dragon.  It  is  said  to  have  been  worth  about 
ten  shillings.  Shakespeare  has  other  punning  allusions  to  it ;  as  in 
The  Merry  Wives  of  Windsor^  I,  iii,  59. 


6o  THE  NEW  HUDSON  SHAKESPEARE     Acr  n 

Portia.  There,  take  it,  prince ;  and  if  my  form  lie  there, 
Then  I  am  yours.  \^He  unlocks  the  casket] 

Morocco.  O  hell !  what  have  we  here? 

A  carrion  Death,  within  whose  empty  eye 
There  is  a  written  scroll !    I  '11  read  the  writing. 

,  [Reads'^     All  that  glisters  is  not  gold ;  65 

Often  have  you  heard  that  told : 
Many  a  man  his  life  hath  sold 
But  my  outside  to  behold : 
Gilded  timber  do  worms  infold. 
Had  you  been  as  wise  as  bold,  70 

Young  in  limbs,  in  judgment  old. 
Your  answer  had  not  been  inscroU'd : 
Fare  you  well ;  your  suit  is  cold. 

Cold,  indeed,  and  labour  lost ; 

Then,  farewell,  heat,  and  welcome,  frost !  75 

Portia,  adieu.    I  have  too  griev'd  a  heart 
To  take  a  tedious  leave  :  thus  losers  part. 

\_Exiti  with  his  train.    Flourish  of  cornets] 
Portia.    A  gentle  riddance.  —  Draw  the  curtains ;  go  : 
Let  all  of  his  complexion  choose  me  so.  \Exeunt'\ 

62-64.  0  hell !  what ...  a  written  69,  timber  do  QqFf  |  tombs  do 

scroll  I  printed  as  two  lines  in  QqFf.  Capell  (Johnson  conj.), 
—  I  '11  read  the  writing  QqFi  |  omit-  77.  Flourishof  cornets tr2J\slQrrGd 

ted  in  F2F3F4.  —  No  stage  directions  here  from  next  scene  by  editors  of 

in  QqFf.  Camb. 

63.  A  carrion  Death :  a  skull  from  which  the  flesh  has  decayed. 

69.  timber.  " '  Timber  *  is  here  a  plural  noun,  and  the  redundant 
syllable  is  no  sufficient  reason  for  adopting  Johnson' s  plausible 
alteration."  —  Halliwell. 

77.  part :  depart.  *  Depart '  was  also  used  for  *  part,'  "...  as  in 
the  Marriage  Service  *  till  death  us  do  part  *  is  a  corruption  of  *  till 
death  us  depart.' "  —  Clar. 


SCENE  VIII     THE  MERCHANT  OF  VENICE  6l 

Scene  VIII.    Venice.   A  street 
Enter  Salarino  and  Salanio 

Salarino.    Why,  man,  I  saw  Bassanio  under  sail : 
With  him  is  Gratiano  gone  along ; 
And  in  their  ship  I  'm  sure  Lorenzo  is  not. 

Salanio.  The  villain  Jew  with  outcries  raised  the  Duke ; 
Who  went  with  him  to  search  Bassanio's  ship.  5 

Salarino.    He  came  too  late,  the  ship  was  under  sail ; 
But  there  the  Duke  was  given  to  understand 
That  in  a  gondola  were  seen  together 
Lorenzo  and  his  amorous  Jessica  : 

Besides,  Antonio  certified  the  Duke  lo 

They  were  not  with  Bassanio  in  his  ship. 

Salanio.    I  never  heard  a  passion  so  confus'd, 
So  strange,  outrageous,  and  so  variable, 
As  the  dog  Jew  did  utter  in  the  streets : 
*  My  daughter  !  O  my  ducats  !  O  my  daughter  !  15 

Fled  with  a  Christian  !  O  my  Christian  ducats  ! 
Justice  !  the  law  !  my  ducats,  and  my  daughter  ! 
A  sealed  bag,  two  sealed  bags  of  ducats. 
Of  double  ducats,  stolen  from  me  by  my  daughter  I 
And  jewels,  two  stones,  two  rich  and  precious  stones,        20 
Stolen  by  my  daughter  !    Justice  !  find  the  girl  1 
She  hath  the  stones  upon  her,  and  the  ducats  ! ' 

Scene  VIII  Capell  |  Scene  IX  8.  gondola  |  Gondylo  Qq  |  Gon- 

Pope  I  Scene  VII  Dyce.  dllo  Ff  I  Gondalo  Rowe. 

6.  came  Qq  |  comes  Ff. 

8.  In  Shakespeare's  time  Venice  was  the  common  resort  of  all 
who  went  abroad  to  see  the  world.  " '  To  have  swum  in  a  gondola' 
was  a  phrase  almost  proverbial  for  having  travelled."  —  Clar. 


62  THE   NEW  HUDSON   SHAKESPEARE     act  ii 

Salarino.    Why,  all  the  boys  in  Venice  follow  him, 
Crying,  his  stones,  his  daughter,  and  his  ducats. 

Salanio.  Let  good  Antonio  look  he  keep  his  day,  25 
Or  he  shall  pay  for  this. 

Salarino.  Marry,  well  remember'd. 

I  reasoned  with  a  Frenchman  yesterday. 
Who  told  me,  in  the  narrow  seas  that  part 
The  French  and  English,  there  miscarried 
A  vessel  of  our  country  richly  fraught :  30 

I  thought  upon  Antonio  when  he  told  me ; 
And  wish'd  in  silence  that  it  were  not  his. 

Salanio.  You  were  best  to  tell  Antonio  what  you  hear ; 
Yet  do  not  suddenly,  for  it  may  grieve  him. 

Salarino.    A  kinder  gentleman  treads  not  the  earth.    35 
I  saw  Bassanio  and  Antonio  part : 
Bassanio  told  him  he  would  make  some  speed 
Of  his  return  :  he  answer'd,  *  Do  not  so ; 
Slubber  not  business  for  my  sake,  Bassanio, 
But  stay  the  very  riping  of  the  time ;  40 

And  for  the  Jew's  bond  which  he  hath  of  me. 
Let  it  not  enter  in  your  mind  of  love  : 

39.  Slubber  QiFf  |  slumber  Q2Q3Q4. 

27.  In  Shakespeare  the  usual  sense  of  '  to  reason  '  is  '  to  talk  '  or 
*to  converse.'    Cf.  I,  ii,  19;   Coriolanus^  I,  ix,  58;  IV,  vi,  51. 

33.  You  were  best :  it  were  best  for  you.  *  You'  here  is  dative,  the 
construction  being  impersonal.    Cf.  King  Lear ^  I,  iv,  109. 

39.  Here  the  word  '  slubber '  means  *  to  slur  over,'  as  in  Fuller's 
The  Worthies  of  England :  "  Slightly  slubbering  it  over,  doing  some- 
thing for  show,  and  nothing  to  purpose."  But  the  original  meaning 
is  *  to  soil '  or  *  to  obscure,'  as  in  Othello^  I,  iii,  227. 

42.  mind  of  love :  loving  mind,  or  mind  full  of  love.  So  Shake- 
speare uses  *  mind  of  honour '  for  *  honourable  mind.* 


SCENE  IX       THE   MERCHANT  OF  VENICE  63 

Be  merry ;  and  employ  your  chiefest  thoughts 

To  courtship,  and  such  fair  ostents  of  love 

As  shall  conveniently  become  you  there  ; '  45 

And  even  there,  his  eye  being  big  with  tears. 

Turning  his  face,  he  put  his  hand  behind  him, 

And  with  affection  wondrous  sensible 

He  wrung  Bassanio's  hand ;  and  so  they  parted. 

Salanio.    I  think  he  only  loves  the  world  for  him.         5° 
I  pray  thee,  let  us  go  and  find  him  out. 
And  quicken  his  embraced  heaviness 
With  some  delight  or  other. 

Salarino.  Do  we  so.  \_Exeunt] 


Scene  IX.    Belmont,    A  room  in  Portia's  house 

Enter  Nerissa,  with  a  Servitor 

Nerissa.    Quick,  quick,  I  pray  thee ;  draw  the  curtain 
straight : 
The  Prince  of  Arragon  hath  ta'en  his  oath, 
And  comes  to  his  election  presently. 

Flourish  of  cornets.    Enter  the  Prince  of  Arragon,  Portia, 
and  their  trains 

Portia.    Behold,  there  stand  the  caskets,  noble  prince  : 
If  you  choose  that  wherein  I  am  contain'd,  5 

Straight  shall  our  nuptial  rites  be  solemnized  : 

Scene    IX    Capell  I   Scene    X  Flourish  .  .  .  omitted  in  Qq. 

Pope  I  Scene  VIII  Dyce.  6.  rites  Pope  i  rights  QqFf. 

52.  Enliven  the  sadness  which  he  clings  to  or  cherishes. 


64  THE  NEW  HUDSON  SHAKESPEARE     act  n 

But  if  you  fail,  without  more  speech,  my  lord. 
You  must  be  gone  from  hence  immediately. 

Arragon.  I  am  enjoin'd  by  oath  to  observe  three  things  : 
First,  never  to  unfold  to  any  one  lo 

Which  casket  't  was  I  chose ;  next,  if  I  fail 
Of  the  right  casket,  never  in  my  life 
To  woo  a  maid  in  way  of  marriage ; 
Lastly,  if  I  do  fail  in  fortune  of  my  choice, 
Immediately  to  leave  you  and  be  gone.  15 

Portia.    To  these  injunctions  every  one  doth  swear 
That  comes  to  hazard  for  my  worthless  self. 

Arragon.    And  so  have  I  address'd  me.    Fortune  now 
To  my  heart's  hope  !  —  Gold,  silver,  and  base  lead. 

*  Who  chooseth  me  must  give  and  hazard  all  he  hath.'       20 
You  shall  look  fairer,  ere  I  give  or  hazard. 

What  says  the  golden  chest  ?  ha  !  let  me  see : 

*  Who  chooseth  me  shall  gain  what  many  men  desire.* 
What  many  men  desire  I    That  *  many '  may  be  meant 

By  the  fool  multitude,  that  choose  by  show,  25 

Not  learning  more  than  the  fond  eye  doth  teach ; 
Which  pries  not  to  the  interior,  but,  like  the  martlet. 
Builds  in  the  weather  on  the  outward  wall. 
Even  in  the  force  and  road  of  casualty. 

7.  you  Qq  I  thou  Ff.  27.  pries  F1F2  I  payes  F3  1  pays  F4. 

13.  marriage.    A  trisyllable.    See  Abbott,  §  479. 

14.  Lastly.  An  interjectional  line  in  the  Cambridge  Shakespeare. 
Capell  added  it  to  the  preceding  line,  making  •  marriage  '  there  a 
dissyllable  —  a  reading  followed  in  previous  editions  of  Hudson's 
Shakespeare.    The  present  text  follows  the  Quartos  and  Folios. 

18.  address'd :  prepared.    Cf.  use  of  '  address  *  as  a  golf  term. 

25.  By:  for.    See  Abbott,  §  145. 

29.  Where  it  is  exposed  to  every  accident  or  mischance. 


SCENE  IX       THE   MERCHANT  OF  VENICE  6$ 

I  will  not  choose  what  many  men  desire,  30 

Because  I  will  not  jump  with  common  spirits, 
And  rank  me  with  the  barbarous  multitudes. 
Why,  then  to  thee,  thou  silver  treasure-house ; 
Tell  me  once  more  what  title  thou  dost  bear : 

*  Who  chooseth  me  shall  get  as  much  as  he  deserves/        35 
And  well  said  too ;  for  who  shall  go  about 

To  cozen  fortune,  and  be  honourable 

Without  the  stamp  of  merit  ?    Let  none  presume 

To  wear  an  undeserved  dignity. 

O,  that  estates,  degrees,  and  offices  40 

Were  not  deriv'd  corruptly  I  and  that  clear  honour 

Were  purchas'd  by  the  merit  of  the  wearer  1 

How  many  then  should  cover  that  stand  bare  ! 

How  many  be  commanded  that  command  ! 

How  much  low  peasantry  would  then  be  glean'd  45 

From  the  true  seed  of  honour  !  and  how  much  honour 

Pick'd  from  the  chaff  and  ruin  of  the  times. 

To  be  new-varnish'd  !    Well,  but  to  my  choice : 

*  Who  chooseth  me  shall  get  as  much  as  he  deserves.' 

I  will  assume  desert.  —  Give  me  a  key  for  this,  50 

And  instantly  unlock  my  fortunes  here. 

[Zr<?  opens  the  silver  casket'\ 

45.  peasantry  Q2Q3Q4  I  pezantry  Qi  I  pleasantry  Ff. 

31.  jump  with :  agree  with.  So  in  i  Henry  /F,  I,  ii,  78.  In  The 
Taming  of  the  Shrew^  I,  i,  195,  we  have  the  verb  used  absolutely  ; 
also  in  Twelfth  Nighty  V,  i,  259  :  "  till  each  circumstance  Of  place, 
time,  fortune,  do  cohere  and  jump  That  I  am  Viola." 

43.  How  many  then  would  keep  their  hats  on  who  now  stand 
bareheaded  as  before  their  masters  as  superiors. 

48.  new-vamish'd.  To  prevent  what  he  deemed  a  mixed  metaphor, 
Warburton  suggested  'vanned,'  i.e.  *  winnowed.' 


66  THE   NEW  HUDSON   SHAKESPEARE     act  it 

Portia.    Too  long  a  pause  for  that  which  you  find  there. 

Arragon.    What 's  here?  the  portrait  of  a  blinking  idiot, 
Presenting  me  a  schedule  !    I  will  read  it. 
How  much  unlike  art  thou  to  Portia  !  55 

How  much  unlike  my  hopes  and  my  deservings  ! 
*  Who  chooseth  me  shall  have  as  much  as  he  deserves.' 
Did  I  deserve  no  more  than  a  fool's  head? 
Is  that  my  prize?  are  my  deserts  no  better? 

Portia.  To  offend,  and  judge,  are  distinct  offices,  60 
And  of  opposed  natures. 

Arragon.  What  is  here? 

[Treads']  The  fire  seven  times  tried  this : 

Seven  times  tried  that  judgment  is, 

That  did  never  choose  amiss. 

Some  there  be  that  shadows  kiss ;  65 

Such  have  but  a  shadow's  bliss : 

There  be  fools  alive,  I  wis, 

Silver'd  o'er ;  and  so  was  this. 

Take  what  wife  you  will  to  bed, 

I  will  ever  be  your  head  :  70 

So  be  gone:  you  are  sped. 

52.  [Aside]  Capell.  71.  gone  QqFi  I  gone  sir  F2F3F4. 

61.  Portia  is  something  of  a  lawyer,  and  she  here  has  in  mind  the 
old  legal  axiom,  that  no  man  is  a  good  judge  in  his  own  case. 

67.  I  wis  :  assuredly.  The  Middle  English  adverb  iwts,  ox  yzuis 
(German  gewifi)  came  to  be  written  /  wis  and,  later,  /  wis^  as  if  it 
were  subject  and  verb  equivalent  to  the  German  ich  weifi. 

68.  The  idiot's  portrait  was  inclosed  in  the  silver  casket,  and  in 
that  sense  was  *  silver'd  o'er.' 

69.  An  apparent  oversight.  The  Prince  was  sworn  "never  to 
woo  a  maid  in  way  of  marriage."  But,  of  course,  he  might  woo  and 
marry  a  widow ! 

70.  You  will  always  have  a  fool's  head,  whether  married  or  not. 


SCENE  IX       THE   MERCHANT  OF  VENICE  67 

Still  more  fool  I  shall  appear 

By  the  time  I  linger  here  : 

With  one  fool's  head  I  came  to  woo, 

But  I  go  away  with  two.  75 

Sweet,  adieu.    I  '11  keep  my  oath, 

Patiently  to  bear  my  wroth. 

\Exeunt  Arragon  and  ti'ain\ 

Portia.    Thus  hath  the  candle  sing'd  the  moth. 
O,  these  deliberate  fools  !  when  they  do  choose, 
They  have  the  wisdom  by  their  wit  to  lose.  80 

Nerissa.    The  ancient  saying  is  no  heresy,  — 
Hanging  and  wiving  goes  by  destiny. 

Portia.    Come,  draw  the  curtain,  Nerissa. 

Enter  a  Servant 

Servant.   Where  is  my  lady? 

Portia.  Here  :  what  would  my  lord  ? 

Servant.    Madam,  there  is  alighted  at  your  gate  85 

A  young  Venetian,  one  that  comes  before 
To  signify  the  approaching  of  his  lord. 
From  whom  he  bringeth  sensible  regreets ; 
To  wit,  besides  commends  and  courteous  breath, 

80.  lose  F4  I  loose  F1F2F8.  89.  courteous  QiFf  I  curious  Q8Q4. 

84.  what  would  my  lord.  A  sportive  reply  to  the  servant's 
"Where  is  my  lady  ?"  So  in  i  Henry  IV,  II,  iv,  314,  the  hostess 
says  to  Prince  Henry,  "  O  Jesu !  my  lord  the  prince  I "  and  he 
replies,  "  How  now,  my  lady  the  hostess  !  " 

88.  sensible  regreets :  tangible  greetings,  greetings  that  may  be 
felt  (for  example,  valuable  presents).  Or  may  the  expression  mean 
*  feeling  salutations'  ?    See  King  John,  III,  i,  241. 

89.  commends  :  compliments.  See  Richard  II,  III,  i,  ^S.  —  breath  ; 
words. 


68  THE  NEW  HUDSON  SHAKESPEARE     act  ii 

Gifts  of  rich  value.    Yet  I  have  not  seen  90 

So  likely  an  ambassador  of  love  : 

A  day  in  April  never  came  so  sweet, 

To  show  how  costly  summer  was  at  hand, 

As  this  fore-spurrer  comes  before  his  lord. 

Portia.    No  more,  I  pray  thee  :  I  am  half  afeard  95 

Thou  wilt  say  anon  he  is  some  kin  to  thee. 
Thou  spend'st  such  high-day  wit  in  praising  him.  — 
Come,  come,  Nerissa ;  for  I  long  to  see 
Quick  Cupid's  post  that  comes  so  mannerly. 

Nerissa.    Bassanio,  lord  Love,  if  thy  will  it  be  !  100 

\_Exeunf\ 

100.  Bassanio,  lord  Love,  Rowe  |  Bassanio  Lord,  love  Q1Q2F1F2F8. 

97.  high-day :  holiday,  choice,  finely  phrased.  Hotspur  speaks  of 
*'  holiday  and  lady  terms,"  i  Henry  /F,  I,  iii,  46.  Cf .  the  common 
American  expression,  "  Fourth-of-July  eloquence." 


ACT  III 

Scene  I.    Venice,   A  street 
Enter  Salanio  and  Salarino 

Salanio.    Now,  what  news  on  the  Rialto? 

Salarino.  Why,  yet  it  lives  there  unchecked,  that  An- 
tonio hath  a  ship  of  rich  lading  wreck'd  on  the  narrow 
seas;  the  Goodwins,  I  think  they  call  the  place;  a  very 
dangerous  flat  and  fatal,  where  the  carcasses  of  many  a 
tall  ship  lie  buried,  as  they  say,  if  my  gossip  Report  be 
an  honest  woman  of  her  word.  7 

Salanio.  I  would  she  were  as  lying  a  gossip  in  that  as 
ever  knapp'd  ginger,  or  made  her  neighbours  believe  she 
wept  for  the  death  of  a  third  husband.  But  it  is  true,  without 
any  slips  of  prolixity,  or  crossing  the  plain  highway  of  talk, 
that  the  good  Antonio,  the  honest  Antonio,  —  O,  that  I  had 
a  title  good  enough  to  keep  his  name  company  !  —  13 

3.  wreck'd  |  wrackt  Fi.  8.  lying  a  Fi  |  a  lying  Qi. 

6.  gossip  Report  Q2Q3Q4  I  gossips  12.  honest  Antonio  |  honest  An- 

report  QiFf.  the.  F2. 

3-4.  narrow  seas.  A  common  name  for  the  English  Channel  in 
the  sixteenth  century.    Cf.  II,  viii,  28. 

4.  The  Goodwin  Sands  lay  off  the  eastern  coast  of  Kent.  The 
name  was  supposed  to  have  been  derived  from  Earl  Godwin,  whose 
lands  were  said  to  have  been  swallowed  up  there  in  the  year  1099. 
In  King  John,  V,  v,  13,  it  is  said  that  the  supplies  expected  by  the 
French  "  are  cast  away  and  sunk  on  Goodwin  Sands.'* 

9.  knapp'd :  gnawed,  nibbled.  Cotgrave  translates  r^T^^^r  by 'knap.* 
9-10.  The  presumption  being  that  by  that  time  she  has  got  so 
used  to  the  thing  as  not  to  mind  it  much. 

69 


70  THE  NEW  HUDSON  SHAKESPEARE    act  iu 

Salarino.    Come,  the  full  stop. 

Salanio.  Ha!  what  sayest  thoii?  Why,  the  end  is,  he 
hath  lost  a  ship.  i6 

Salarino.  I  would  it  might  prove  the  end  of  his  losses. 

Salanio.  Let  me  say  *  amen  '  betimes,  lest  the  devil  cross 
my  prayer,  for  here  he  comes  in  the  likeness  of  a  Jew. 

Enter  Shylock 

How  now,  Shylock  !  what  news  among  the  merchants?     20 
Shylock.    You  knew,  none  so  well,  none  so  well  as  you, 
of  my  daughter's  flight. 

Salarino.    That 's  certain  :  I,  for  my  part,  knew  the  tailor 

that  made  the  wings  she  flew  withal.  24 

Salanio.    And  Shylock,  for  his  own  part,  knew  the  bird 

was  fledg'd ;  and  then  it  is  the  complexion  of  them  all  to 

leave  the  dam.  27 

Shylock.    She  is  damn'd  for  it. 

Salarino.    That 's  certain,  if  the  devil  may  be  her  judge. 

Shylock.    My  own  flesh  and  blood  to  rebel  1  30 

Salanio.  Out  upon  it,  old  carrion !  rebels  it  at  these  years? 

Shylock.    I  say  my  daughter  is  my  flesh  and  blood.     32 

Salarino.    There  is  more  difference  between  thy  flesh  and 

hers  than  between  jet  and  ivory ;  more  between  your  bloods 

than  there  is  between  red  wine  and  Rhenish.    But  tell  us,  do 

you  hear  whether  Antonio  have  had  any  loss  at  sea  or  no? 

21.  knew  Q2Ff  I  know  Qi.  32.  and  QiFf  |  and  my  Q2Q8Q4. 

14.  Finish  the  sentence,  or  Say  on  till  you  come  to  a  period. 
23-24.  A  sly  allusion,  probably,  to  the  dress  in  which  Jessica  eloped. 
—  withaL  The  emphatic  form  of 'with.'  So  in  1. 46.  See  Abbott,  §  196. 
26.  complexion  :  natural  inclination.    So  in  Hamlet y  I,  iv,  27. 
35.  red  wine  and  Rhenish :  red  wine  and  white. 


SCENE  I         THE   MERCHANT  OF  VENICE  71 

Shylock.  There  I  have  another  bad  match  :  a  bank- 
rupt, a  prodigal,  who  dare  scarce  show  his  head  on  the 
Rialto ;  a  beggar,  that  was  us'd  to  come  so  smug  upon 
the  mart.  Let  him  look  to  his  bond  :  he  was  wont  to  call 
me  usurer ;  let  him  look  to  his  bond  :  he  was  wont  to 
lend  money  for  a  Christian  courtesy;  let  him  look  to  his 
bond.  43 

Salarino.  Why,  I  am  sure,  if  he  forfeit,  thou  wilt  not 
take  his  flesh  :  what 's  that  good  for?  45 

Shylock.  To  bait  fish  withal :  if  it  will  feed  nothing  else, 
it  will  feed  my  revenge.  He  hath  disgrac'd  me,  and  hin- 
dered me  half  a  million;  laugh'd  at  my  losses,  mock'd  at 
my  gains,  scorn 'd  my  nation,  thwarted  my  bargains,  cooPd 
my  friends,  heated  mine  enemies;  and  what's  his  reason? 
I  am  a  Jew.  Hath  not  a  Jew  eyes?  hath  not  a  Jew  hands, 
organs,  dimensions,  senses,  affections,  passions  ?  fed  with  the 
same  food,  hurt  with  the  same  weapons,  subject  to  the  same 
diseases,  heal'd  by  the  same  means,  warm'd  and  cool'd  by 
the  same  winter  and  summer,  as  a  Christian  is?  If  you  prick 
us,  do  we  not  bleed?  if  you  tickle  us,  do  we  not  laugh?  if 
you  poison  us,  do  we  not  die?  and  if  you  wrong  us,  shall 
we  not  revenge?  if  we  are  like  you  in  the  rest,  we  will 
resemble  you  in  that.  If  a  Jew  wrong  a  Christian,  what 
is  his  humility?  Revenge.  If  a  Christian  wrong  a  Jew, 
what  should  his  sufferance  be  by  Christian  example?    Why, 

37-38.  bankrupt  Rowe  |  bankrout         50.  his  reason  Qq  |  the  reason  Ff. 
QqFf.  52.  dimensions  Qi  |  dementions  Fi. 

39.  smug :  brisk,  gay,  spruce.  Always,  when  applied  to  persons, 
'  smug '  conveys  the  idea  of  self-satisfaction.  In  i  Henry  IV^  III,  i, 
102,  Shakespeare  speaks  of  "  the  smug  and  silver  Trent." 

47-48.  Hindered  me  to  the  extent  of  half  a  million  ducats. 

60.  humility :  humanity.    So  in  Love's  Labour  V  Losty  IV,  iii,  349. 


72  THE  NEW  HUDSON  SHAKESPEARE  act  hi 

revenge.    The  villainy  you  teach  me,  I  will  execute;  and 
it  shall  go  hard  but  I  will  better  the  instruction.  63 

Enter  a  Servant 

Servant.  Gentlemen,  my  master  Antonio  is  at  his  house, 
and  desires  to  speak  with  you  both.  65 

Salarino.    We  have  been  up  and  down  to  seek  him. 

Salanio.  Here  comes  another  of  the  tribe  :  a  third  can- 
not be  match'd,  unless  the  devil  himself  turn  Jew. 

\_Exeunt  Salanio,  Salarino,  and  Servant] 

Enter  Tubal 

Shylock.  How  now,  Tubal !  what  news  from  Genoa  ? 
hast  thou  found  my  daughter?  70 

Tubal.  I  often  came  where  I  did  hear  of  her,  but 
cannot  find  her.  72 

Shylock.  Why,  there,  there,  there,  there!  a  diamond 
gone,  cost  me  two  thousand  ducats  in  Frankfort !  The 
curse  never  fell  upon  our  nation  till  now;  I  never  felt  it 
till  now :  two  thousand  ducats  in  that ;  and  other  precious, 
precious  jewels.  I  would  my  daughter  were  dead  at  my 
foot,  and  the  jewels  in  her  ear  !  would  she  were  hearsM 
at  my  foot,  and  the  ducats  in  her  coffin  !  No  news  of 
them  ?  —  Why,  so  ;  —  and  I  know  not  what 's  spent  in  the 
search :  why,  thou  loss  upon  loss  !  the  thief  gone  with  so 
much,  and  so  much  to  find  the  thief;  and  no  satisfaction, 
no  revenge  :   nor  no  ill  luck  stirring  but  what  lights  on 

64.   Servant    Rowe  |  man    from  8i.  thou  QqFi  |  then  F2F8F4. 

Anthonio  Fi.  83.  lights  on  Qi  |  lights  a  Q2Ff. 

80.  what 's  Qq  I  how  much  is  Ff. 

63.  I  shall  not  fail  to  surpass  my  teachers  in  this  noatter  of  revenge. 


SCENE  I         THE   MERCHANT  OF  VENICE  73 

my  shoulders ;  no  sighs  but  of  my  breathing ;  no  tears  but 
of  my  shedding.  85 

Tubal.  Yes,  other  men  have  ill  luck  too  :  Antonio,  as  I 
heard  in  Genoa,  — 

Shylock.    What,  what,  what?  ill  luck,  ill  luck?  88 

Tubal.    Hath  an  argosy  cast  away,  coming  from  Tripolis. 

Shylock.  I  thank  God,  I  thank  God !  —  Is  it  true,  is  it  true  ? 

Tubal.  I  spoke  with  some  of  the  sailors  that  escap'd 
the  wreck.  92 

Shylock.  I  thank  thee,  good  Tubal :  good  news,  good 
news  !  ha,  ha  !  —  here  in  Genoa. 

Tubal.  Your  daughter  spent  in  Genoa,  as  I  heard,  in 
one  night  fourscore  ducats.  96 

Shylock.  Thou  stick'st  a  dagger  in  me  :  I  shall  never  see 
my  gold  again :  fourscore  ducats  at  a  sitting !  fourscore  ducats ! 

Tubal.  There  came  divers  of  Antonio^s  creditors  in  my 
company  to  Venice,  that  swear  he  cannot  choose  but  break. 

Shylock.  I  am  very  glad  of  it :  I  '11  plague  him ;  I  '11 
torture  him  :  I  am  glad  of  it.  102 

Tubal.  One  of  them  show'd  me  a  ring  that  he  had  of 
your  daughter  for  a  monkey.  104 

Shylock.  Out  upon  her  !  Thou  torturest  me.  Tubal :  it 
was  my  turquoise ;  I  had  it  of  Leah  when  I  was  a  bachelor  : 
I  would  not  have  given  it  for  a  wilderness  of  monkeys. 

84-85.  but  of  Qi  I  but  a  Q2Ff.  95-96.  in  one  Qi  |  one  Q2Ff. 

90.  is  it . . .  is  it  Q2Ff  |  ist . . .  ist  Qi.         106.  turquoise  Rowe  |  Turkies  Qi 

94.  here  QqFf  |  where  ?  Rowe.  Q2F1. 

94.  For  a  defense  of  the  Quarto  and  Folio  reading,  see  Fumess. 

106.  The  turquoise  was  held  precious  for  its  rarity  and  beauty  and 
for  certain  magical  properties.  It  was  supposed  to  have  the  power 
of  reconciling  man  and  wife,  and  of  forewarning  the  wearer  of  danger. 
It  was  also  thought  to  grow  pale  and  dim  if  the  wearer  were  ill. 


74  THE  NEW  HUDSON  SHAKESPEARE   act  hi 

Tubal.    But  Antonio  is  certainly  undone.  io8 

Shylock.  Nay,  that 's  true,  that 's  very  true.  Go,  Tubal, 
fee  me  an  officer;  bespeak  him  a  fortnight  before.  I  will 
have  the  heart  of  him,  if  he  forfeit;  for,  were  he  out  of 
Venice,  I  can  make  what  merchandise  I  will.  Go,  Tubal, 
and  meet  me  at  our  synagogue ;  go,  good  Tubal ;  at  our 
synagogue,  Tubal.  \_Exeunt] 

Scene  II.    Belmont.    A  room  in  Portia's  house 

Enter  ^p&%k^\o,  Portia,  Gratiano,  Nerissa,  ^;z^  Attendants 

Portia.    I  pray  you,  tarry ;  pause  a  day  or  two 
Before  you  hazard  ;  for,  in  choosing  wrong, 
I  lose  your  company  :  therefore  forbear  awhile. 
There  's  something  tells  me  —  but  it  is  not  love  — 
I  would  not  lose  you  ;  and  you  know  yourself,  5 

Hate  counsels  not  in  such  a  quality. 
But,  lest  you  should  not  understand  me  well,  — 
And  yet  a  maiden  hath  no  tongue  but  thought,  — 
I  would  detain  you  here  some  month  or  two 
Before  you  venture  for  me.    I  could  teach  you  lo 

How  to  choose  right,  but  then  I  am  forsworn ; 
So  will  I  never  be :  so  may  you  miss  me ; 
But,  if  you  do,  you  '11  make  me  wish  a  sin, 

112.  I  will.   Go  I  I  will :  goe  Q2F1  3.  lose  I  loose  QqFi. 

1 1  will  go:  go  Qi  I  I  will.     Go,  go  5.  lose  Q1F2F8F4  I  loose  Q2F1. 

Johnson  Camb.  11.  then  I  am  Q2Ff  1 1  am  then  Qi. 

109-110.  To  fee  an  officer,  or  a  lawyer,  is  to  engage  him  by  paying 
for  his  services  in  advance.    Acceptance  of  such  payment  binds  him. 

112.  The  editors  of  the  Cambridge  Shakespeare  make  Shylock 
say  here,  "  Go,  go,  Tubal,"  following  what,  in  spite  of  the  careless 
punctuation,  seems  to  be  the  reading  of  the  First  Quarto. 


SCENE  II       THE   MERCHANT  OF  VENICE  75 

That  I  had  been  forsworn.    Beshrew  your  eyes, 

They  have  o'erlook'd  me,  and  divided  me ;  15 

One  half  of  me  is  yours,  the  other  half  yours.  — 

Mine  own,  I  would  say ;  but  if  mine,  then  yoursi 

And  so  all  yours  !    O,  these  naughty  times 

Puts  bars  between  the  owners  and  their  rights  ! 

And  so,  though  yours,  not  yours.    Prove  it  so,  20 

Let  fortune  go  to  hell  for  it,  not  I. 

I  speak  too  long ;  but  't  is  to  peize  the  time. 

To  eke  it,  and  to  draw  it  out  in  length. 

To  stay  you  from  election. 

Bassanio.  Let  me  choose  ; 

For,  as  I  am,  I  live  upon  the  rack.  25 

Portia.    Upon  the  rack,  Bassanio  !  then  confess 
What  treason  there  is  mingled  with  your  love. 

Bassanio.    None  but  that  ugly  treason  of  mistrust. 
Which  makes  me  fear  the  enjoying  of  my  love : 
There  may  as  well  be  amity  and  life  3^ 

'Tween  snow  and  fire,  as  treason  and  my  love. 

17.  if  Qq  I  of  Fi  I  first  F2F8F4.  23.  eke  Johnson  |  eck  Qi  |  ich  Fi. 

19.  Puts.    So  Quartos  and  First  Folio.    See  Abbott,  §  333. 

20.  Prove  it  so :  should  it  prove  so.  If  events  should  prove  that 
I,  who  am  yours  in  heart,  am  not  to  be  yours  in  fact,  let  the  punish- 
ment fall  upon  fortune  for  misdirecting  your  choice. 

22.  peize :  retard.  An  old  form  of  '  poise,'  through  Fr.  peiser 
(peser)  from  Lat.  pensare.  The  figure  here  involved  is  that  of  load- 
ing a  thing  in  motion  to  make  it  go  more  slowly. 

29.  Shakespeare  often  has  *  doubt '  for  *  fear'  or  *  suspect ' ;  here  he 
has  '  fear'  in  the  sense  of  *  doubt.'    Fear  the  not  enjoying  of  my  love. 

30.  In  previous  editions  of  Hudson's  Shakespeare,  Walker's  con- 
jectural reading  of  'league'  for  'life'  was  adopted,  as  'life*  was 
considered  a  strange  word  for  the  place  and  made  still  more  unfitting 
by  what  Bassanio  says  in  his  next  speech. 


*]6         THE  NEW  HUDSON  SHAKESPEARE    act  hi 

Portia.    Ay,  but  I  fear  you  speak  upon  the  rack, 
Where  men  enforced  do  speak  anything. 

Bassanio.    Promise  me  life,  and  I/ll  confess  the  truth. 

Portia.    Well  then,  confess  and  live. 

Bassanio.  Confess  and  love 

Had  been  the  very  sum  of  my  confession  :  36 

O  happy  torment,  when  my  torturer 
Doth  teach  me  answers  for  deliverance  ! 
But  let  me  to  my  fortune  and  the  caskets. 

Portia.    Away,  then  !  I  am  lock'd  in  one  of  them :       40 
If  you  do  love  me,  you  will  find  me  out. 
Nerissa,  and  the  rest,  stand  all  aloof. 
Let  music  sound  while  he  doth  make  his  choice ; 
Then,  if  he  lose,  he  makes  a  swan-like  end. 
Fading  in  music  :  that  the  comparison  45 

May  stand  more  proper,  my  eye  shall  be  the  stream 
And  watery  death-bed  for  him.    He  may  win ; 
And  what  is  music  then?    Then  music  is 
Even  as  the  flourish  when  true  subjects  bow 

33.  do  Qq  I  doth  Fi. 

33.  "  It  is  pleasant  to  find  Shakespeare  before  his  age  in  denouncing 
the  futility  of  this  barbarous  method  of  extorting  truth.  He  was  old 
enough  to  remember  the  case  of  Francis  Throckmorton  in  1584 ;  and 
that  of  Squires  in  1598  was  fresh  in  his  mind."  —  Clar. 

38.  Doubtless  many  a  poor  man  whose  office  it  was  to  work  the 
rack,  and  whose  heart  had  not  been  burnt  to  a  cinder  by  theological 
rancor,  had  pity  on  the  victim,  and  whispered  in  his  ear  "  answers 
for  deliverance,"  prompting  him  to  speak  what  might  suffice  for 
stopping  the  torture. 

44-47.  The  allusion  is  to  the  popular  belief  that  the  swan  sang 
herself  through  the  process  of  dying, '  fading  (i.e.  going  out)  in  music' 
English  poetry  from  Chaucer  to  Tennyson  is  full  of  exquisite  refer- 
ences to  this  swan-lore.    Cf.  Othello^  V,  ii,  247 ;  King  John^  V,  vii,  21. 


SCENE  n       THE   MERCHANT  OF  VENICE  ff 

To  a  new-crowned  monarch  :  such  it  is  50 

As  are  those  dulcet  sounds  in  break  of  day 

That  creep  into  the  dreaming  bridegroom's  ear, 

And  summon  him  to  marriage.    Now  he  goes, 

With  no  less  presence,  but  with  much  more  love, 

Than  young  Alcides,  when  he  did  redeem  55 

The  virgin  tribute  paid  by  howling  Troy 

To  the  sea-monster  :  I  stand  for  sacrifice ; 

The  rest  aloof  are  the  Dardanian  wives, 

With  bleared  visages,  come  forth  to  view 

The  issue  of  the  exploit.    Go,  Hercules  !  60 

Live  thou,  I  live  :  with  much  much  more  dismay 

I  view  the  fight  than  thou  that  mak'st  the  fray. 

Musky  whilst  Bassanio  comments  on  the  caskets  to  himself 

Song 
Tell  me  where  is  fancy  bred, 
Or  in  the  heart  or  in  the  head  ? 

61.  live;  with  |  live  with  QqFiF2.  —  much  much  Q2F2F8  I  muchQiFi. 

50.  At  English  coronations,  the  act  of  putting  on  the  crown  was 
signaled  by  a  joyous  flourish  of  trumpets;  whereupon  the  whole 
assembly  were  to  bow  their  homage  to  the  sovereign. 

54.  presence :  dignity  of  mien,  nobility  of  bearing,  deportment. 

57.  The  story,  as  told  by  Ovid,  Metamorphoses^  XI,  is,  that  when 
Hesione,  daughter  of  the  Trojan  king,  was  demanded  by  the  sea- 
monster,  and  bound  to  a  rock,  Hercules  slew  the  monster  and  deliv- 
ered her.  Bassanio  goes  "  with  much  more  love,"  because  Hercules 
went,  not  from  love  of  the  lady,  but  to  gain  the  reward  of  beauti- 
ful horses  offered  by  Laomedon. 

63.  This  song  is  very  artfully  conceived,  and  carries  something 
enigmatical  or  riddle-like  in  its  face,  as  if  on  purpose  to  suggest  or 
hint  darkly  the  way  to  the  right  choice.  The  clew,  however,  is  such 
as  to  be  seized  only  by  a  man  whose  heart  is  thoroughly  right  in  the 


78  THE  NEW  HUDSON  SHAKESPEARE   act  hi 

How  begot,  how  nourished  ?  65 

Reply,  reply. 

It  is  engender'd  in  the  eyes. 

With  gazing  fed  ;  and  fancy  dies 

In  the  cradle  where  it  lies. 

Let  us  all  ring  fancy's  knell ;  70 

I  'II  begin  it,  —  Ding,  dong,  bell. 
All.  Ding,  dong,  bell. 

Bassanio.    So  may  the  outward  shows  be  least  themselves  : 
The  world  is  still  deceiv'd  with  ornament. 
In  law,  what  plea  so  tainted  and  corrupt,  75 

But,  being  seasoned  with  a  gracious  voice, 
Obscures  the  show  of  evil?    In  religion, 

67.  eyes  Ff  I  eye  Qq.  75.  tainted  QqF2  I  tanted  Fi. 

matter  he  goes  about.  '  Fancy,'  as  here  used,  means,  apparently, 
that  illusive  power  or  action  of  the  mind  which  has  misled  the  other 
suitors,  who,  as  Portia  says,  "have  the  wisdom  by  their  wit  to  lose." 
And  the  illusion  thus  engendered  in  the  eyes,  and  fed  with  gazing, 
dies  just  there  where  it  is  bred,  as  soon  as  it  is  brought  to  the  test 
of  experience  by  opening  the  wrong  casket.  The  riddle  evidently 
has  some  effect  in  starting  Bassanio  on  the  right  track,  by  causing 
him  to  distrust  such  shows  as  catch  the  fancy  or  the  eye,  —  the 
glitter  of  the  gold  and  silver  caskets. 

66.  Reply,  reply.  In  Quartos  and  Folios  these  words  stand  in  the 
margin,  to  the  right  of  1.  65.  This  led  to  Hanmer's  conjecture  that 
'Reply'  was  a  stage  direction,  and  Johnson  and  Steevens  printed  it 
as  such  —  an  arrangement  adopted  in  previous  editions  of  Hudson's 
Shakespeare.  Capell  prefixed '  i  V.'  (i.e.  First  Voice)  to  11.  6;^,  64, 65, 
and  '  2  V.'  to  11.  67,  68,  69,  saying,  "  The  words  *  Reply,  reply '  show 
it  to  be  a  song  in  two  parts  or  by  two  voices,  followed  by  a  chorus 
of  divers  assistant  voices  which  *  all '  indicates."  The  editors  of  the 
Cambridge  Shakespeare  say,  "  It  is  true  that  the  words  *  Reply, 
reply '  stand  in  the  margin  of  the  old  copies,  but  they  are  printed 
like  the  song  in  italics,  and  seem  to  be  required  as  part  of  it  by  the 
rhythm  and  (if  we  read  '  eye '  with  the  Quartos)  by  the  rhyme  also." 


SCENE  II        THE   MERCHANT  OF  VENICE  79 

What  damned  error,  but  some  sober  brow 

Will  bless  it,  and  approve  it  with  a  text. 

Hiding  the  grossness  with  fair  ornament?  80 

There  is  no  vice  so  simple,  but  assumes 

Some  mark  of  virtue  on  his  outward  parts : 

How  many  cowards,  whose  hearts  are  all  as  false 

As  stairs  of  sand,  wear  yet  upon  their  chins 

The  beards  of  Hercules  and  frowning  Mars ;  85 

Who,  inward  search'd,  have  livers  white  as  milk  ! 

And  these  assume  but  valour's  excrement 

To  render  them  redoubted  !    Look  on  beauty, 

And  you  shall  see  'tis  purchas'd  by  the  weight; 

Which  therein  works  a  miracle  in  nature,  90 

81.  vice    F2F8F4  I  voice    QiFi  |  84.  stairs  F4  |  staiers  Qi  |  stayers 

voyce  Q2Q3.  Q2F1Q3Q4  I  stayres  F2F3. 

84.  stairs.  In  previous  editions  of  Hudson's  Shakespeare,  the 
Folio  reading  *  stayers,'  was  adopted  as  a  monosyllable  in  the  sense 
of  '  props,'  '  supports,'  '  stays.' 

86.  Cowards  were  commonly  spoken  of  as  having  white  livers. 
Shakespeare  has  ' lily-liver'd '  and  * milk-liver'd '  in  the  same  sense; 
and  Falstaff,  2  Henry  IV,  iv,  iii,  110-114,  instructs  us  that  "The 
second  property  of  your  excellent  sherris  is  the  warming  of  the 
blood ;  which,  before  cold  and  settled,  left  the  liver  white  and  pale, 
which  is  the  badge  of  pusillanimity  and  cowardice." 

87.  excrement.  This  word,  from  Lat.  excresco,  is  used  for  every- 
thing which  appears  to  grow  or  vegetate  upon  the  human  body,  as 
the  hair,  the  beard,  the  nails.  This  is  another  illustration  of  the  rule 
that  Shakespeare  uses  many  words  of  Latin  derivation  in  a  sense 
close  to  the  original.    See  note,  p.  7,  1.  61. 

89.  The  meaning  here  is  not  very  obvious ;  but  the  words  are 
probably  to  be  construed  in  the  light  of  what  follows.  It  would 
seem  that  false  hair,  "  the  golden  tresses  of  the  dead,"  was  pur- 
chased at  so  much  an  ounce  ;  and  the  more  one  had  of  it,  the  vainer 
—  the  more  frivolous  or  wanton  —  one  was. 


8o  THE  NEW  HUDSON  SHAKESPEARE    act  hi 

Making  them  lightest  that  wear  most  of  it : 

So  are  those  crisped  snaky  golden  locks, 

Which  makes  such  wanton  gambols  with  the  wind, 

Upon  supposed  fairness,  often  known 

To  be  the  dowry  of  a  second  head,  95 

The  skull  that  bred  them  in  the  sepulchre. 

Thus  ornament  is  but  the  guiled  shore 

To  a  most  dangerous  sea ;  the  beauteous  scarf 

Veiling  an  Indian  beauty ;  in  a  word, 

93.  makes  Ff  |  maketh  Q1Q2.  99.  an  Indian  beauty  QqF2F3  I  an 
97.  guiled  QqFi  |  guilded  F2F8F4       Indian  beautie  Fi  |  Indian ;  beauty's 

I  gilded  Rowe.  Theobald's  conjecture. 

91.  Another  quibble  upon  Might/  See  note,  p.  55,  1.  42.  Here, 
however,  it  is  between  '  light '  as  opposed  to  '  heavy,'  and  *  light '  in 
the  sense  of  'frivolous'  or  'wanton.' 

94.  Upon  supposed  fairness :  worn  by  fictitious  beauty. 

95.  Shakespeare  expresses  a  very  strong  dislike  of  the  custom 
of  wearing  false  hair,  introduced  into  England  early  in  Elizabeth's 
reign  and  very  popular  among  the  women  of  fashion.  Cf.  Lovers 
Labour  ^s  Lost,  IV,  iii,  258  ;  Timon  of  Athe7is^  IV,  iii,  144.  In  Sonnets, 
LXVlii,  is  a  passage  very  like  that  in  the  text : 

Thus  is  his  cheek  the  map  of  days  outworn. 
When  beauty  lived  and  died  as  flowers  do  now, 


Before  the  golden  tresses  of  the  dead, 
The  right  of  sepulchres,  were  shorn  away. 
To  live  a  second  life  on  second  head ; 
Ere  beauty's  dead  fleece  made  another  gay. 

96.  The  skull  being  in  the  sepulchre.    Ablative  absolute. 

99.  an  Indian  beauty.  This  is  a  famous  Shakespeare  crux.  Up- 
wards of  twenty  word-substitutes  for  '  beauty '  have  been  suggested. 
See  Fumess.  In  previous  editions  of  Hudson's  Shakespeare  'feature ' 
was  the  reading  adopted.  But,  as  it  stands,  the  reading  of  Quartos 
and  Folios  is  perfectly  intelligible,  *  an  Indian  beauty '  being  simply 
one  that  standards  of  civilization  and  refinement  would  regard  as  no 
beauty  at  all. 


SCENE  II     .  THE   MERCHANT  OF  VENICE  8l 

The  seeming  truth  which  cunning  times  put  on  loo 

To  entrap  the  wisest.    Therefore,  thou  gaudy  gold, 
Hard  food  for  Midas,  I  will  none  of  thee ; 
Nor  none  of  thee,  thou  pale  and  common  drudge 
'Tween  man  and  man  :  but  thou,  thou  meagre  lead. 
Which  rather  threatenest  than  dost  promise  aught,  105 

Thy  paleness  moves  me  more  than  eloquence ; 
And  here  choose  I :  joy  be  the  consequence  ! 

Portia.    \^AsiWe']  How  all  the  other  passions  fleet  to  air, 
As  doubtful  thoughts,  and  rash-embrac'd  despair. 
And  shuddering  fear,  and  green-eyed  jealousy  !  no 

0  love,  be  moderate;  allay  thy  ecstasy; 

In  measure  rain  thy  joy ;  scant  this  excess  ! 

1  feel  too  much  thy  blessing :  make  it  less. 
For  fear  I  surfeit ! 

Bassanio.  What  find  I  here? 

[  Opening  the  leaden  caskef] 
Fair  Portia's  counterfeit !    What  demi-god  "S 

Hath  come  so  near  creation?    Move  these  eyes? 

loi.  Therefore   Q1F2F3  I  therefore  106.  paleness  QqFf  |  plainness 

then  Q2F1.  Warburton  Theobald. 

102.  food  Q2Ff  I  foole  Qi.  112.  rain  F3F4  I  reine  Q3Q4  I 

105.  aught  Theobald  |  ought  QqFf.  range  Qi  |  raine  Q2F1F2. 

102.  Midas,  king  of  Phrygia,  asked  of  Dionysus  (Bacchus)  that 
whatever  he  touched  might  be  turned  into  gold.  The  request  being 
granted,  and  all  his  food  turning  to  gold  as  it  touched  his  lips,  he 
implored  Dionysus  to  revoke  the  favor.   See  Ovid,  Metamorphoses^  XI. 

106.  paleness.  This  —  the  reading  of  Quartos  and  Folios  —  War- 
burton  changed  to  'plainness,'  which  Staunton  adopted  with  the 
remark  that  the  *  plainness '  which  moves  Bassanio  '  more  than  elo- 
quence '  is  the  plain  speaking  of  the  inscription  on  the  leaden  coffer, 
contrasted  with  the  tempting  labels  of  its  neighbors. 

115.  counterfeit:  portrait.    Cf.  Timon  of  At  hens  j  V,  i,  83. 


82  THE  NEW  HUDSON  SHAKESPEARE    act  hi 

Or  whether,  riding  on  the  balls  of  mine, 

Seem  they  in  motion?    Here  are  sever'd  lips. 

Parted  with  sugar  breath  :  so  sweet  a  bar 

Should  sunder  such  sweet  friends.    Here  in  her  hairs       120 

The  painter  plays  the  spider,  and  hath  woven 

A  golden  mesh  to  entrap  the  hearts  of  men, 

Faster  than  gnats  in  cobwebs.    But  her  eyes  !  — 

How  could  he  see  to  do  them?  having  made  one, 

Methinks  it  should  have  power  to  steal  both  his  125 

And  leave  itself  unfurnish'd.    Yet  look,  how  far 

The  substance  of  my  praise  doth  wrong  this  shadow 

In  underprizing  it,  so  far  this  shadow 

Doth  limp  behind  the  substance.    Here  's  the  scroll, 

The  continent  and  summary  of  my  fortune  :  130 

IJ^eacis']  You  that  choose  not  by  the  view, 

Chance  as  fair,  and  choose  as  true ! 

Since  this  fortune  falls  to  you, 

Be  content,  and  seek  no  new. 

If  you  be  well  pleas'd  with  this,  135 

And  hold  your  fortune  for  your  bliss, 

Turn  you  where  your  lady  is. 

And  claim  her  with  a  loving  kiss. 

A  gentle  scroll.  —  Fair  lady,  by  your  leave ; 

I  come  by  note,  to  give  and  to  receive.  140 

117.  whether  Ff  |  whither  Q1Q2.  126.  unfurnish'd  QqFf  |  unfinish'd 

122.  to  entrap  1 1'  intrap  QiFf.  Rowe. 

126.  unfurnish'd:  unmated.  In /i^^w/<?^,V,  11,150, occurs 'unfellowed.* 
130.  continent:  that  which  contains.  Theliteralmeaningof  the  Latin. 

139.  Here  Rowe  introduced  stage  direction  '  Kissing  her.' 

140.  I  come  in  accordance  with  the  written  direction  to  give  a 
kiss  and  to  receive  the  lady.  —  note.    Cf.  TAe  Winter's  Tale,  IV,  Hi,  49. 


SCENE  II        THE   MERCHANT  OF  VENICE  83 

Like  one  of  two  contending  in  a  prize, 

That  thinks  he  hath  done  well  in  people's  eyes, 

Hearing  applause  and  universal  shout, 

Giddy  in  spirit,  still  gazing,  in  a  doubt 

Whether  those  peals  of  praise  be  his  or  no ;  145 

So,  thrice-fair  lady,  stand  I,  even  so ; 

As  doubtful  whether  what  I  see  be  true. 

Until  confirm'd,  sign'd,  ratified  by  you. 

Portia.    You  see  me.  Lord  Bassanio,  where  I  stand. 
Such  as  I  am  :  though  for  myself  alone  1 50 

I  would  not  be  ambitious  in  my  wish, 
To  wish  myself  much  better ;  yet  for  you 
I  would  be  trebled  twenty  times  myself ; 
A  thousand  times  more  fair,  ten  thousand  times  more  rich ; 
That,  only  to  stand  high  in  your  account,  155 

I  might  in  virtues,  beauties,  livings,  friends. 
Exceed  account :  but  the  full  sum  of  me 
Is  sum  of  —  something ;  which,  to  term  in  gross, 
Is  an  unlesson'd  girl,  unschool'd,  unpractis'd  : 
Happy  in  this,  she  is  not  yet  so  old  160 

But  she  may  learn ;  happier  than  this, 
She  is  not  bred  so  dull  but  she  can  learn ; 

145.  peals  Q2Ff  |  pearles  Qi.  158.  something  Qq  |  nothing  Ff. 

149.  see  me,   LordQq  |  see    my  i6i.  happier   than   this   Camb  | 

Lord  F1F2F8  I  see,  my  Lord  F4.  happier  then  this  QqFi  |  happierthen 

154.  more  rich  |  Camb  prints  as  in  this  F2F3F4  I  more  happy  then  in 

separate  line  |  in  QqFf  part  of  1. 155.  this  Pope. 

158.  The  dash  before  '  something '  indicates  that  Portia  hesitates 
for  a  term  with  which  to  describe  herself  modestly,  yet  without  any 
affectation  of  modesty.  The  Folio  reading  '  nothing '  savors  too 
much  of  affectation  of  humility  to  accord  well  with  Portia's  char- 
acter. Besides,  she  seems  to  be  playing  with  the  likeness  of  sound 
in  *  sum'  and  *  some.'  —  term  in  gross :  define  generally. 


84  THE  NEW  HUDSON  SHAKESPEARE    act  hi 

Happiest  of  all  is  that  her  gentle  spirit 

Commits  itself  to  yours  to  be  directed, 

As  from  her  lord,  her  governor,  her  king.  165 

Myself  and  what  is  mine  to  you  and  yours 

Is  now  converted  :  but  now  I  was  the  lord 

Of  this  fair  mansion,  master  of  my  servants. 

Queen  o'er  myself ;  and  even  now,  but  now, 

This  house,  these  servants,  and  this  same  myself,  170 

Are  yours,  my  lord  :  I  give  them  with  this  ring; 

Which  when  you  part  from,  lose,  or  give  away, 

Let  it  presage  the  ruin  of  your  love, 

And  be  my  vantage  to  exclaim  on  you. 

Bassanio.    Madam,  you  have  bereft  me  of  all  words ;   17 S 
Only  my  blood  speaks  to  you  in  my  veins ; 
And  there  is  such  confusion  in  my  powers. 
As,  after  some  oration  fairly  spoke 
By  a  beloved  prince,  there  doth  appear 
Among  the  buzzing  pleased  multitude ;  180 

Where  every  something,  being  blent  together, 
Turns  to  a  wild  of  nothing,  save  of  joy, 
Expressed  and  not  express'd.    But  when  this  ring 
Parts  from  this  finger,  then  parts  life  from  hence  : 
O,  then  be  bold  to  say  Bassanio  's  dead  !  185 

Nerissa.    My  lord  and  lady,  it  is  now  our  time. 
That  have  stood  by  and  seen  our  wishes  prosper. 
To  cry,  good  joy.    Good  joy,  my  Lord  and  lady  ! 

Gratiano.    My  Lord  Bassanio  and  my  gentle  lady, 
I  wish  you  all  the  joy  that  you  can  wish ;  190 

167.  The  '  lord '  of  a  thing  is,  properly,  the  owner  of  it ;  hence  the 
word  is  applicable  to  a  woman  as  well  as  to  a  man. 

174.  vantage:  opportunity.  —  exclaim  on:  reproach  loudly. 


SCENE  II       THE   MERCHANT  OF  VENICE  85 

For  I  am  sure  you  can  wish  none  from  me. 

And,  when  your  honours  mean  to  solemnize 

The  bargain  of  your  faith,  I  do  beseech  you. 

Even  at  that  time  I  may  be  married  too.  194 

Bassanio.    With  all  my  heart,  so  thou  canst  get  a  wife. 

Gratiano.    I  thank  your  lordship,  you  have  got  me  one. 
My  eyes,  my  lord,  can  look  as  swift  as  yours  : 
You  saw  the  mistress,  I  beheld  the  maid ; 
You  lov'd,  I  lov'd ;  for  intermission 

No  more  pertains  to  me,  my  lord,  than  you.  200 

Your  fortune  stood  upon  the  caskets  there, 
And  so  did  mine  too,  as  the  matter  falls ; 
For,  wooing  here,  until  I  sweat  again. 
And  swearing,  till  my  very  roof  was  dry 
With  oaths  of  love,  at  last,  if  promise  last,  205 

I  got  a  promise  of  this  fair  one  here 

196.  have  QqF2F8F4  I  gave  Fi.  201.  caskets  Q2Ff  |  casket  Q1Q3 

199.  lov'd ;    for  intermission  No  Q4. 
more  Theobald  |  lov'd  for  intermis-  203.  here    Pope  I  heere    QqFi  1 

sion,  No  more  Q1Q2F1F2F8  I  loved  heete    F2  I  heat    F8F4  I  herd    Rowe 

for  intermission.  No  more  Camb.  (i  ed.)  her  Rowe  (2  ed.). 

191.  You  have  so  much  joy  in  each  other,  that  you  cannot  grudge 
any  to  me.  This  is  Johnson's  interpretation.  Abbott  suggests :  "  none 
which  I  do  not  wish  you,"  §  158. 

198.  We  are  not  to  understand  by  this  that  Nerissa  is  merely  a 
servant-maid  to  Portia :  she  holds  the  place  of  companion  or  friend, 
and  Portia  all  along  treats  her  as  such.  They  are  as  nearly  equals  in 
rank  as  Bassanio  and  Gratiano  are,  who  are  a  pair  of  friends,  not 
master  and  servant.  Nor  does  it  conflict  with  this,  that  Gratiano 
speaks  of  Portia  as  "  her  mistress "  ;  for  he  is  in  a  position  that 
requires  him  to  plead  his  present  cause  with  a  good  deal  of  modesty 
and  deference,  lest  he  should  seem  to  have  abused  his  privilege  of 
accompanying  Bassanio  on  this  loving  voyage. 

199.  intermission :  delay.  Gratiano  means,  apparently,  that,  follow- 
ing his  example,  he  had  been  as  prompt  to  fall  in  love  as  Bassanio. 


86  THE  NEW  HUDSON  SHAKESPEARE   act  hi 

To  have  her  love,  provided  that  your  fortune 
Achiev'd  her  mistress. 

Portia.  Is  this  true,  Nerissa? 

Nerissa.    Madam,  it  is,  so  you  stand  pleased  withal. 

Bassanio.    And  do  you,  Gratiano,  mean  good  faith?    210 

Gratiano.    Yes,  faith,  my  lord. 

Bassanio.    Our  feast  shall  be  much  honour'd  in  your 
marriage. 

Gratiano.  But  who  comes  here  ?  Lorenzo  and  his  infidel  ? 
What,  and  my  old  Venetian  friend,  Salerio? 

Enter  Lorenzo,  Jessica,  and  Salerio 

Bassanio.  Lorenzo  and  Salerio,  welcome  hither;  215 
If  that  the  youth  of  my  new  interest  here 

209.  it  is,  so  you  Qq  I  it  is  so,  so  you  Ff.  214.  Scene  III  Pope. 

214.  Salerio.  Is  this  a  new  character,  or  is  the  name  simply  a  mis- 
spelling for  Salarino  or  Salanio  ?  Rowe  held  that  the  Salerio  of  the 
Quartos  and  Folios  was  a  misprint  for  Salanio,  and  he  substituted 
the  one  name  for  the  other  wherever  it  occurred.  Capell  restored 
Salerio  in  the  text,  though  he  believed  it  to  be  an  abbreviation  of 
Salerino,  or,  as  it  is  printed  in  the  present  text,  Salarino.  Steevens 
was  the  first  to  add  Salerio  to  the  list  of  Dramatis  Personae  as  a 
character  distinct  from  Salanio  and  Salarino.  A  good  case  can  be 
made  out  for  this  Salerio  being  but  the  Salanio  who  appears  in  the 
first  scene  of  the  play  as  the  common  friend  of  Antonio,  Bassanio,  and 
Salarino.  It  is  easy  to  see  how  the  mistake  might  arise,  for  the  similar 
names,  Salanio  and  Salarino,  are  spelled  in  Quartos  and  Folios  in 
nine  different  ways,  and  the  various  abbreviations  of  the  names  add 
to  the  confusion  and  complication.  On  the  other  hand,  in  both  Quar- 
tos and  Folios  the  name  Salerio  is  spelled  in  full  every  time  it  occurs ; 
and  is  not  the  whimsicality  in  introducing  here  a  third  character 
whose  name  begins  with  *  Sal- '  thoroughly  Shakespearian  and  in 
keeping  with  the  dramatist's  delight  in  word  quibble  and  equivoque  ? 
There  are  two  Jaqueses  in  the  Dramatis  Personae  of  As  You  Like  It. 


SCENE  II        THE  MERCHANT  OF  VENICE  87 

Have  power  to  bid  you  welcome.  —  By  your  leave, 
I  bid  my  very  friends  and  countrymen, 
Sweet  Portia,  welcome. 

Portia.  So  do  I,  my  lord ; 

They  are  entirely  welcome.  220 

Lorenzo.    I  thank  your  honour.  —  For  my  part,  my  lord, 
My  purpose  was  not  to  have  seen  you  here; 
But,  meeting  with  Salerio  by  the  way, 
He  did  entreat  me,  past  all  saying  nay. 
To  come  with  him  along. 

Salerio.  I  did,  my  lord ;  225 

And  I  have  reason  for  it.    Signior  Antonio 
Commends  him  to  you.  \_Gives  Bassanio  a  letter] 

Bassanio.  Ere  I  ope  his  letter, 

I  pray  you,  tell  me  how  my  good  friend  doth. 

Salerio.    Not  sick,  my  lord,  unless  it  be  in  mind ; 
Nor  well,  unless  in  mind  :  his  letter  there  230 

Will  show  you  his  estate. 

Gratiano.  Nerissa,  cheer  yon  stranger;  bid  her  welcome. — 
Your  hand,  Salerio  :  what 's  the  news  from  Venice? 
How  doth  that  royal  merchant,  good  Antonio  ? 
I  know  he  will  be  glad  of  our  success ;  235 

We  are  the  Jasons,  we  have  won  the  fleece. 

Salerio.   I  would  you  had  won  the  fleece  that  he  hath  lost ! 

Portia.    There  are  some  shrewd  contents  in  yon  same 
paper, 
That  steals  the  colour  from  Bassanio's  cheek  : 
Some  dear  friend  dead  ;  else  nothing  in  the  world  240 

234.  royal  merchant.    See  note,  p.  102,  1.  29. 

236.  Cf.  Marlowe,  The  Jew  of  Malta ^  IV,  iv,  99. 

238.  shrewd :  evil.    Properly  p.  part,  of  skrewe?ty  ♦  to  curse.* 


88  THE  NEW  HUDSON  SHAKESPEARE   act  hi 

Could  turn  so  much  the  constitution 

Of  any  constant  man.    What,  worse  and  worse  !  — 

With  leave,  Bassanio  ]  I  am  half  yourself, 

And  I  must  freely  have  the  half  of  anything 

That  this  same  paper  brings  you. 

Bassanio.  O  sweet  Portia,  245 

Here  are  a  few  of  the  unpleasant'st  words 
That  ever  blotted  paper  !    Gentle  lady, 
When  I  did  first  impart  my  love  to  you, 
I  freely  told  you,  all  the  wealth  I  had 

Ran  in  my  veins,  —  I  was  a  gentleman;  250 

And  then  I  told  you  true  :  and  yet,  dear  lady, 
Rating  myself  at  nothing,  you  shall  see 
How  much  I  was  a  braggart.    When  I  told  you 
My  state  was  nothing,  I  should  then  have  told  you 
That  I  was  worse  than  nothing ;  for,  indeed,  255 

I  have  engag'd  myself  to  a  dear  friend, 
Engag'd  my  friend  to  his  mere  enemy, 
To  feed  my  means.    Here  is  a  letter,  lady; 
The  paper  as  the  body  of  my  friend. 

And  every  word  in  it  a  gaping  wound,  260 

Issuing  life-blood.  —  But  is  it  true,  Salerio? 
Hath  all  his  ventures  fail'd?    What,  not  one  hit? 
From  Tripolis,  from  Mexico,  and  England, 
From  Lisbon,  Barbary,  and  India? 

253.  braggart  QqFiF2F3  I  beggar  F4.        262.  Hath  QqFf  |  have  Pope. 

244.  Pope  omitted  '  freely '  in  this  line,  regarding  it  as  redundancy. 
As  the  word  'freely'  occurs  five  lines  after,  it  was  thought  to  have 
crept  in  here  out  of  place  by  a  compositor's  slip. 

246.  unpleasant'st.  ''Est  in  superlatives  is  often  pronounced  st 
after  dentals  and  liquids."    See  Abbott,  §  473. 


SCENE  II       THE   MERCHANT  OF  VENICE  89 

And  not  one  vessel  scape  the  dreadful  touch  265 

Of  merchant-marring  rocks? 

Salerio.  Not  one,  my  lord. 

Besides,  it  should  appear  that,  if  he  had 
The  present  money  to  discharge  the  Jew, 
He  would  not  take  it.    Never  did  I  know 
A  creature,  that  did  bear  the  shape  of  man,  270 

So  keen  and  greedy  to  confound  a  man : 
He  pHes  the  Duke  at  morning  and  at  night ; 
And  doth  impeach  the  freedom  of  the  state. 
If  they  deny  him  justice  :   twenty  merchants, 
The  Duke  himself,  and  the  magnificoes  275 

Of  greatest  port,  have  all  persuaded  with  him ; 
But  none  can  drive  him  from  the  envious  plea 
Of  forfeiture,  of  justice,  and  his  bond. 

Jessica.  When  I  was  with  him,  I  have  heard  him  swear. 
To  Tubal  and  to  Chus,  his  countrymen,  280 

That  he  would  rather  have  Antonio's  flesh 
Than  twenty  times  the  value  of  the  sum 
That  he  did  owe  him  :  and  I  know,  my  lord. 
If  law,  authority,  and  power  deny  not, 
It  will  go  hard  with  poor  Antonio.  285 

Portia.    Is  it  your  dear  friend  that  is  thus  in  trouble  ?      \ 

Bassanio.    The  dearest  friend  to  me,  the  kindest  man. 
The  best-condition'd  and  unwearied  spirit 
In  doing  courtesies ;  and  one  in  whom 

273.  impeach  the  freedom :  call  in  question  the  reputation  of  the 
state  for  granting  equal  rights  to  every  one.    Cf.  IV,  i,  39. 

288.  unwearied.  For  ellipsis  of  superlative  inflection,  see  Abbott, 
§  398.    See  note,  p.  35,  1.  46.    So  we  have  in  Sonnets^  LXXX,  6 : 

The  humble  as  the  proudest  sail  doth  bear. 


90  THE  NEW  HUDSON  SHAKESPEARE    act  hi 

The  ancient  Roman  honour  more  appears  290 

Than  any  that  draws  breath  in  Italy. 

Portia.    What  sum  owes  he  the  Jew? 

Bassanio.    For  me  three  thousand  ducats. 

Portia.  What,  no  more? 

Pay  him  six  thousand,  and  deface  the  bond ; 
Double  six  thousand,  and  then  treble  that,  29$ 

Before  a  friend  of  this  description 
Shall  lose  a  hair  through  Bassanio's  fault. 
First  go  with  me  to  church  and  call  me  wife, 
And  then  away  to  Venice  to  your  friend ; 
For  never  shall  you  he  by  Portia's  side  3<^ 

With  an  unquiet  soul.    You  shall  have  gold 
To  pay  the  petty  debt  twenty  times  over : 
When  it  is  paid,  bring  your  true  friend  along. 
My  maid  Nerissa  and  myself  meantime 
Will  live  as  maids  and  widows.    Come,  away  !  305 

For  you  shall  hence  upon  your  wedding-day : 
Bid  your  friends  welcome,  show  a  merry  cheer : 
Since  you  are  dear  bought,  I  will  love  you  dear. 
But  let  me  hear  the  letter  of  your  friend.  3^9 

Bassanio.    l^Reads"] 

Sweet  Bassanio,  my  ships  have  all  miscarried,  my  creditors 
grow  cruel,  my  estate  is  very  low,  my  bond  to  the  Jew  is  for- 
feit ;  and  since  in  paying  it,  it  is  impossible  I  should  live,  all 
debts  are  cleared  between  you  and  I,  if  I  might  but  see  you 

293.  "What,  no  more  Ff  |  in  Qq  part  297.  through  QqFi  |  through  my 

of  1.  294.  F2F3F4. 

296.  thisQqFf  I  his  S.  Walker  conj.  313.  but  see  Qq  |  see  Ff. 

307.  cheer :  countenance.   Middle  English  c/iere  from  Low  Lat.  cara. 

313.  between  you  and  I.    In  Jespersen's  Progress  in  Language  this 

usage,  common  in  Elizabethan  literature,  is  explained  thus :  "/  was 


SCENE  III      THE   MERCHANT  OF  VENICE  91 

at  my  death.  Notwithstanding,  use  your  pleasure ;  if  your  love 
do  not  persuade  you  to  come,  let  not  my  letter.  315 

Portia.    O  love,  dispatch  all  business,  and  be  gone  ! 
Bassanio.    Since  I  have  your  good  leave  to  go  away, 

I  will  make  haste;  but,  till  I  come  again, 
No  bed  shall  e*er  be  guilty  of  my  stay,  3^9 

Nor  rest  be  interposer  'twixt  us  twain.  [_jSxeun/] 

Scene  III.    Venice,   A  street 
Enter  Shylock,  Salarino,  Antonio,  and  Jailer 

Shylock.    Jailer,  look  to  him  :  tell  not  me  of  mercy. — 
This  is  the  fool  that  lends  out  money  gratis.  — 
Jailer,  look  to  him. 

Antonio.  Hear  me  yet,  good  Shylock. 

Shylock.    I  Ul  have  my  bond ;  speak  not  against  my  bond : 
I  have  sworn  an  oath  that  I  will  have  my  bond.  5 

Thou  caU'dst  me  dog  before  thou  hadst  a  cause ; 
But,  since  I  am  a  dog,  beware  my  fangs : 
The  Duke  shall  grant  me  justice.  —  I  do  wonder. 
Thou  naughty  jailer,  that  thou  art  so  fond 
To  come  abroad  with  him  at  his  request.  10 

Antonio.    I  pray  thee,  hear  me  speak. 

320.  Nor  QaFf  |  No  Qi.  Salarino  Qi  |  Solanio  Fi  |  SalerioQ2. 

Scene  III  |  Scene  IV  Pope.  2.  lends  Ff  |  lent  Qq. 

preferred  to  me  after  and^  because  the  group  of  words  you  and  /, 
he  a?id  /,  etc.,  in  which  this  particular  word-order  was  required  by 
common  politeness,  would  occur  in  every-day  speech  so  frequently 
as  to  make  it  practically  a  kind  of  stock-phrase  taken  as  a  whole, 
the  last  word  of  which  was  therefore  not  inflected.'* 

9.  naughty:  wicked.    Cf.  King  Lear ^lllyviij  37.  —  fond:  foolish. 


92  THE  NEW  HUDSON  SHAKESPEARE    act  hi 

Shylock.    I  '11  have  my  bond  ;  I  will  not  hear  thee  speak  : 
I  '11  have  my  bond  \  and  therefore  speak  no  more. 
I  '11  not  be  made  a  soft  and  dull-eyed  fool, 
To  shake  the  head,  relent,  and  sigh,  and  yield  15 

To  Christian  intercessors.     Follow  not ; 
I  '11  have  no  speaking  :  I  will  have  my  bond.  \_Exit'] 

Salarino.    It  is  the  most  impenetrable  cur 
That  ever  kept  with  men. 

Antonio.  Let  him  alone  : 

I  '11  follow  him  no  more  with  bootless  prayers.  20 

He  seeks  my  life ;  his  reason  well  1  know : 
I  oft  deliver'd  from  his  forfeitures 
Many  that  have  at  times  made  moan  to  me ; 
Therefore  he  hates  me. 

Salarino.  I  am  sure  the  Duke 

Will  never  grant  this  forfeiture  to  hold.  25 

Antonio.    The  Duke  cannot  deny  the  course  of  law  : 
For  the  commodity  that  strangers  have 
With  us  in  Venice,  if  it  be  denied, 
Will  much  impeach  the  justice  of  the  state ; 

24-25.  Printed  as  prose  in  F2FSF4.         29.  the  state  Q2Ff  I  his  state  Qi. 

19.  kept:  dwelt.    So  in  Measure  for  Measure^  HI,  i,  10. 
27.  commodity  :  commercial  privileges. 

26-29.  In  previous  editions  of  Hudson's  Shakespeare,  the  Capell 
reading  and  punctuation  were  adopted  here  : 

The  Duke  cannot  deny  the  course  of  law, 

For  the  commodity  that  strangers  have 

With  us  in  Venice :  if  it  be  denied, 

'T  will  much  impeach  the  justice  of  the  State.  .  . . 

Here  *  for '  would  mean  '  because  of.' 

Antonio  was  one  of  the  citizens,  while  Shylock  was  reckoned 
among  the  strangers  of  the  place.    And,  since  the  city  was  benefited 


SCENE  IV      THE   MERCHANT  OF  VENICE  93 

Since  that  the  trade  and  profit  of  the  city  3^ 

Consisteth  of  all  nations.    Therefore,  go  : 

These  griefs  and  losses  have  so  bated  me, 

That  I  shall  hardly  spare  a  pound  of  flesh 

To-morrow  to  my  bloody  creditor. — 

Well,  jailer,  on.  —  Pray  God,  Bassanio  come  35 

To  see  me  pay  his  debt,  and  then  I  care  not !        [_Exeu7tt'] 


Scene  IV.    Belmont,    A  room  in  Portia's  house 
Enter  Portia,  Nerissa,  Lorenzo,  Jessica,  and  Balthasar 

Lorenzo.    Madam,  although  I  speak  it  in  your  presence. 
You  have  a  noble  and  a  true  conceit 
Of  god-like  amity ;  which  appears  most  strongly 
In  bearing  thus  the  absence  of  your  lord. 
But,  if  you  knew  to  whom  you  show  this  honour,  5 

How  true  a  gentleman  you  send  relief, 
How  dear  a  lover  of  my  lord  your  husband, 
I  know  you  would  be  prouder  of  the  work 
Than  customary  bounty  can  enforce  you. 

Portia.    I  never  did  repent  for  doing  good,  10 

Nor  shall  not  now  :  for  in  companions 

Scene  IV  Rowe  |  Scene  V  Pope.     Balthasar  |  a  man  of  Portia's  QqFf. 

as  much  by  the  trade  of  foreigners  as  of  natives,  justice  required  the 
law  to  give  equal  advantages  to  both.  But  to  stop  the  course  of 
law  in  behalf  of  citizens  against  strangers  would  clearly  impeach  the 
justice  of  the  state. 

32.  bated:  lowered,  reduced.    Cf.  IV,  i,  71. 

6.  gentleman.  The  dative  case.  Modem  English  allows  such  a  dative 
(without  *  to ')  only  when  it  comes  between  the  verb  and  its  accusative. 

7.  lover :  friend.    So  in  Coriolanus^  V,  ii,  14. 


94  THE  NEW  HUDSON   SHAKESPEARE    act  hi 

That  do  converse  and  waste  the  time  together, 

Whose  souls  do  bear  an  equal  yoke  of  love, 

There  must  be  needs  a  like  proportion 

Of  lineaments,  of  manners,  and  of  spirit ;  15 

Which  makes  me  think  that  this  Antonio, 

Being  the  bosom  lover  of  my  lord, 

Must  needs  be  like  my  lord.    If  it  be  so, 

How  little  is  the  cost  I  have  bestow'd 

In  purchasing  the  semblance  of  my  soul  20 

From  out  the  state  of  hellish  cruelty  ! 

This  comes  too  near  the  praising  of  myself ; 

Therefore  no  more  of  it :  hear  other  things. 

Lorenzo,  I  commit  into  your  hands 

The  husbandry  and  manage  of  my  house  25 

Until  my  lord's  return  :  for  mine  own  part, 

I  have  toward  heaven  breath'd  a  secret  vow 

To  live  in  prayer  and  contemplation. 

Only  attended  by  Nerissa  here, 

Until  her  husband  and  my  lord's  return  :  30 

There  is  a  monastery  two  miles  off, 

And  there  we  will  abide.    I  do  desire  you 

Not  to  deny  this  imposition. 

The  which  my  love  and  some  necessity 

Now  lays  upon  you. 

Lorenzo.  Madam,  with  all  my  heart,  35 

I  shall  obey  you  in  all  fair  commands. 

Portia.    My  people  do  already  know  my  mind, 

13.  equal  Qi  I  egall  Q2  I  egal  F1F2.       heere  other  things   QqFiF2  I  here 

21.  cruelty  Q2Ff  |  misery  Qi.  other  things,  F3F4. 

23.  hear  other  things.    Theobald  I  32.  we  will  Q^Ff  |  will  we  Qi. 

25.  husbandry:  stewardship.  —  manage:  management. 


SCENE  IV       THE   MERCHANT  OF  VENICE  95 

And  will  acknowledge  you  and  Jessica 
In  place  of  Lord  Bassanio  and  myself. 
So  fare  you  well,  till  we  shall  meet  again.  40 

Ix)RENzo.    Fair  thoughts  and  happy  hours  attend  on  you  ! 

Jessica.    I  wish  your  ladyship  all  heart's  content. 

Portia.    I  thank  you  for  your  wish,  and  am  well  pleas'd 
To  wish  it  back  on  you :  fare  you  well,  Jessica.  — 

[^Exeunt  Jessica  and  Lorenzo] 
Now,  Balthasar,  45 

As  I  have  ever  found  thee  honest-true, 
So  let  me  find  thee  still.    Take  this  same  letter, 
And  use  thou  all  the  endeavour  of  a  man 
In  speed  to  Padua  :  see  thou  render  this 
Into  my  cousin's  hand,  Doctor  Bellario ;  50 

And,  look,  what  notes  and  garments  he  doth  give  thee, 
Bring  them,  I  pray  thee,  with  imagin'd  speed 
Unto  the  tranect,  to  the  common  ferry 
Which  trades  to  Venice.    Waste  no  time  in  words. 
But  get  thee  gone  :  I  shall  be  there  before  thee.  55 

Balthasar.  Madam,  I  go  with  all  convenient  speed.  [Exit] 

Portia.    Come  on,  Nerissa ;  I  have  work  in  hand 
That  you  yet  know  not  of :  we  '11  see  our  husbands 
Before  they  think  of  us. 

Nerissa.  Shall  they  see  us? 

40.  So  fare  you  well  F2F3F4Q3Q4  45-46.  Printed  as  one  line  in  QqFf. 

I  So  far  you  well  Q2F1 1  And  so  fare-  49.  Padua  Theobald  |  Mantua  Qq 

well  Qi.  Ff. 

52.  imagin*d  speed :  with  the  celerity  of  imagination.  So  in  the 
Chorus  before  Henry  V,  Act  III :  "  Thus  with  imagined  wing  our 
swift  scene  flies."  So  Steevens  interprets.  Abbott,  §  375,  takes 
*  imagined '  as  meaning  *  imaginable.* 

53.  tranect.  Most  probably  this  much-discussed  word  is  but  a 
misprint,  for  *  traject '  (crossing,  ferry).    Cf.  Ital.  traghetto  {tragHto), 


96  THE  NEW  HUDSON   SHAKESPEARE    act  hi 

Portia.    They  shall,  Nerissa ;  but  in  such  a  habit,         60 
That  they  shall  think  we  are  accomplished 
With  that  we  lack.    I  '11  hold  thee  any  wager, 
When  we  are  both  accoutred  like  young  men, 
I  '11  prove  the  prettier  fellow  of  the  two, 
And  wear  my  dagger  with  the  braver  grace ;  65 

And  speak  between  the  change  of  man  and  boy 
With  a  reed  voice ;  and  turn  two  mincing  steps 
Into  a  manly  stride ;  and  speak  of  frays. 
Like  a  fine-bragging  youth ;  and  tell  quaint  lies, 
How  honourable  ladies  sought  my  love,  70 

Which  I  denying,  they  fell  sick  and  died ; 
I  could  not  do  withal :   then  I  '11  repent. 
And  wish,  for  all  that,  that  I  had  not  kill'd  them. 
And  twenty  of  these  puny  lies  I  '11  tell ; 
That  men  shall  swear  I  have  discontinued  school  75 

Above  a  twelvemonth.  I  have  within  my  mind 
A  thousand  raw  tricks  of  these  bragging  Jacks, 
Which  I  will  practise. 

But  come ;  I  '11  tell  thee  all  my  whole  device 
When  I  am  in  my  coach,  which  stays  for  us  80 

At  the  park  gate  ;  and  therefore  haste  away, 
For  we  must  measure  twenty  miles  to-day.  [^JSxeunf] 

62.  that    QqFf  I   what    Rowe  63.  accoutred  |  accoutered  Q2Ff  | 

(2  ed.).  apparreld  Qi. 

72.  I  could  not  do  withal :  I  could  not  help  it.  A  phrase  of  the 
time.  "In  Florio's  Giardmo  di  Ricreatione  (1591)  the  Italian  '■lo 
non  saprei  farci  altro '  is  rendered  into  English  *  I  cannot  doo  with 
all.'  " —  Camb.  So  in  Fletcher  and  Massinger's  (?)  The  Little  French 
Lawyer :  *'  I  cannot  do  withal ;  I  have  spoke  and  spoke ;  I  am 
betrayed  and  lost  too." 

77.  Jacks  :  saucy  fellows.    An  Elizabethan  term  of  contempt. 


SCENE  V        THE   MERCHANT  OF  VENICE  97 

Scene  V.    The  same,   A  garden 
Enter  Launcelot  and  Jessica 

Launcelot.  Yes,  truly;  for,  look  you,  the  sins  of  the 
father  are  to  be  laid  upon  the  children  :  therefore,  I  promise 
ye,  I  fear  you.  I  was  always  plain  with  you,  and  so  now  I 
speak  my  agitation  of  the  matter :  therefore  be  of  good 
cheer;  for,  truly,  I  think  you  are  damn'd.  There  is  but 
one  hope  in  it  that  can  do  you  any  good ;  and  that  is  but  a 
kind  of  bastard  hope  neither.  7 

Jessica.    And  what  hope  is  that,  I  pray  thee? 

Launcelot.  Marry,  you  may  partly  hope  that  you  are 
not  the  Jew's  daughter. 

Jessica.  That  were  a  kind  of  bastard  hope,  indeed :  so 
the  sins  of  my  mother  should  be  visited  upon  me.  12 

Launcelot.  Truly  then  I  fear  you  are  damn'd  both  by 
father  and  mother :  thus  when  I  shun  Scylla,  your  father, 
I  fall  into  Charybdis,  your  mother:  well,  you  are  gone 
both  ways.  16 

Scene  V  |  Scene  VI  Pope.  3.  ye  Qi  |  you  Q2Ff. 

Launcelot  Rowe  |  Clowne  Ff.  4.  be  of  Ff  |  be  a  Q1Q2. 

3.  fear:  fear  for.    So  in  1.  28.    Cf.  Richard  III,  I,  i,  137. 

14-15.  This  refers  to  a  proverbial  saying  which  has  been  traced 
back  as  far  as  to  St.  Augustine:  "iVi?  iterum  quasi  fugiens  Charyb- 
dim,  in  Scyllam  incurrasJ'*  Malone  quotes  in  this  connection  a  line 
in  the  Alexandreis  of  Philippe  Gualtier  (Gaultier),  the  thirteenth 
century  poet :  '''•Incidis  in  Scyllam^  cupiens  vitare  Chary bdim.''^  This 
became  a  common  proverb,  both  in  the  original  Latin  and  in 
English  versions.  For  example,  in  Roger  Ascham's  Scholemaster  we 
find :  "  If  Scylla  drown  him  not,  Charybdis  may  fortune  to  swallow 
him."  Halliwell  quotes  an  old  Somersetshire  proverb  to  the  same 
purpose :  "  He  got  out  of  the  muxy  and  fell  into  the  pucksy." 


98  THE  NEW  HUDSON  SHAKESPEARE    act  hi 

Jessica.  I  shall  be  sav'd  by  my  husband ;  he  hath  made 
me  a  Christian.  i8 

Launcelot.  Truly,  the  more  to  blame  he :  we  were 
Christians  enow  before ;  e'en  as  many  as  could  well  live, 
one  by  another.  This  making  of  Christians  will  raise  the 
price  of  hogs :  if  we  grow  all  to  be  pork-eaters,  we  shall 
not  shortly  have  a  rasher  on  the  coals  for  money.  23 

Jessica.  I  '11  tell  my  husband,  Launcelot,  what  you  say  : 
liere  he  comes. 

Enter  Lorenzo 

Lorenzo.  I  shall  grow  jealous  of  you  shortly,  Launcelot, 
if  you  thus  get  my  wife  into  corners.  27 

Jessica.  Nay,  you  need  not  fear  us,  Lorenzo  :  Launcelot 
-and  I  are  out.  He  tells  me  flatly,  there  is  no  mercy  for  me 
in  heaven,  because  I  am  a  Jew's  daughter  :  and  he  says,  you 
are  no  good  member  of  the  commonwealth ;  for,  in  convert- 
ing Jews  to  Christians,  you  raise  the  price  of  pork.  32 

Lorenzo.  I  think  the  best  grace  of  wit  will  shortly  turn 
into  silence,  and  discourse  grow  commendable  in  none  only 
"but  parrots.  —  Go  in,  sirrah  ;  bid  them  prepare  for  dinner. 

Launcelot.    That  is  done,  sir ;  they  have  all  stomachs. 

Lorenzo.  Goodly  Lord,  what  a  wit-snapper  are  you  ! 
then  bid  them  prepare  dinner.  38 

Launcelot.  That  is  done  too,  sir;  .only,  *  cover'  is  the 
word. 

Lorenzo.    Will  you  cover,  then,  sir? 

Launcelot.    Not  so,  sir,  neither ;  I  know  my  duty.       42 

20.  enow.   A  dialect  form,  but  often  used  as  the  plural  of  '  enough.* 
39.  Launcelot  is  playing  upon  the  word  '  cover,'  which  was  used 
both  for  setting  the  table  and  for  putting  on  the  hat. 


SCENE  V        THE   MERCHANT  OF  VENICE  99 

Lorenzo.  Yet  more  quarrelling  with  occasion  !  Wilt  thou 
show  the  whole  wealth  of  thy  wit  in  an  instant  ?  I  pray  thee, 
understand  a  plain  man  in  his  plain  meaning :  go  to  thy 
fellows,  bid  them  cover  the  table,  serve  in  the  meat,  and 
we  will  come  in  to  dinner.  47 

Launcelot.  For  the  table,  sir,  it  shall  be  serv'd  in ;  for  the 
meat,  sir,  it  shall  be  cover'd ;  for  your  coming  in  to  dinner,  sir, 
why,  let  it  be  as  humours  and  conceits  shall  govern.   \^£xzf\ 

Lorenzo.    O  dear  discretion,  how  his  words  are  suited  ! 
The  fool  hath  planted  in  his  memory  52 

An  army  of  good  words ;  and  I  do  know 
A  many  fools,  that  stand  in  better  place. 
Garnish 'd  like  him,  that  for  a  tricksy  word  55 

Defy  the  matter.  —  How  cheer'st  thou,  Jessica? 
And  now,  good  sweet,  say  thy  opinion  : 
How  dost  thou  like  the  Lord  Bassanio's  wife? 

Jessica.    Past  all  expressing.    It  is  very  meet 
The  Lord  Bassanio  live  an  upright  life ;  60 

For,  having  such  a  blessing  in  his  lady. 
He  finds  the  joys  of  heaven  here  on  earth ; 

56.  cheer'st  FfQ8Q4  I  cherst  Q2  I  far'st  Qi. 

43.  quarrelling  with  occasion.  "  At  odds  with  the  matter  in  question." 
—  Schmidt.    Launcelot's  punning  is  irrelevant  to  the  matter  in  hand. 

56.  Defy  the  matter :  set  the  meaning  at  defiance.  *  To  defy  *  was 
often  used  for  '  to  renounce,'  *  to  forsake,'  or  *  to  give  up.'  So  in 
I  Henry  IVy  I,  iii,  228 : 

All  studies  here  I  solemnly  defy, 

Save  how  to  gall  and  pinch  this  Bolingbroke. 

Shakespeare  seems  to  have  reference  to  the  habit,  which  infected 
all  classes  in  the  last  decade  of  the  sixteenth  century,  of  sacri- 
ficing matter,  or  letting  it  go,  in  fondness  for  verbal  trickery  and 
chase  after  puns  and  plays  upon  words.  —  cheer'st :  farest. 


lOO       THE  NEW  HUDSON  SHAKESPEARE    act  hi 

And  if  on  earth  he  do  not  mean  it,  then 

In  reason  he  should  never  come  to  heaven. 

Why,  if  two  gods  should  play  some  heavenly  match,  65 

And  on  the  wager  lay  two  earthly  women, 

And  Portia  one,  there  must  be  something  else 

Pawn'd  with  the  other ;  for  the  poor  rude  world 

Hath  not  her  fellow. 

Lorenzo.  Even  such  a  husband 

Hast  thou  of  me  as  she  is  for  a  wife.  70 

Jessica.    Nay,  but  ask  my  opinion  too  of  that. 

Lorenzo.    I  will  anon :  first,  let  us  go  to  dinner. 

Jessica.    Nay,  let  me  praise  you  while  I  have  a  stomach. 

Lorenzo.    No,  pray  thee,  let  it  serve  for  table-talk ; 
Then,  howsoe'er  thou  speak'st,  'mong  other  things  75 

I  shall  digest  it. 

Jessica.  Well,  I  '11  set  you  forth.  [£x^unt^ 

63-64.  mean  it,  then  In  |  meane  |  mean  it,  it  Is  Ff  I  meane  it,  In 
it,  then  In  Qi  |  meane  it,  it  In  Q2       Q3Q4  1  merit  it,  In  Pope. 

63-64.  Another  famous  crux.  In  previous  editions  of  Hudson's 
Shakespeare  Pope's  emendation  was  adopted,  '  it '  being  supposed 
to  have  reference  to  'blessing'  in  1.  61.  The  reading  in  the  text  is 
that  of  the  First  Quarto.  Many  explanations  and  at  least  twelve 
text  emendations  have  been  offered.  Capell  explained  *  mean  it '  by 
'  observe  moderation,*  and  Furness  and  Corson  interpret  it  in  the 
same  way.  But  is  this  not  going  too  far  afield  ?  Shakespeare  never 
uses  'mean'  in  this  sense  as  a  verb.  Does  not  Jessica  say  simply 
and  poetically  that  Bassanio,  having  the  joys  of  heaven  here  on  earth 
in  his  possession  of  Portia,  ought  to  lead  almost  as  upright  a  life  as 
he  would  were  he  in  heaven  ?  If  not,  he  ought  never  to  get  to  heaven. 
Then  she  goes  on  to  tell  of  the  heavenly  qualities  of  Portia. 

64.  come  to  heaven.    Cf.  Lorenzo's  words,  II,  iv,  33. 

68.  pawn'd:  wagered.    Cf.  Coriolanus^  III,  i,  15. 

73.  An  equivoque  on  'stomach,'  which  means  *  disposition  *  or 
•inclination,'  as  well  as  appetite  for  food. 


ACT  IV 

Scene  I.    Venice,  A  court  of  justice 

Enter  the  Duke,  the  Magnificoes,  Antonio,  Bassanio, 
Gratiano,  Salerio,  and  others 

Duke.   What,  is  Antonio  here? 

Antonio.    Ready,  so  please  your  Grace. 

Duke.    I  am  sorry  for  thee  :  thou  art  come  to  answer 
A  stony  adversary,  an  inhuman  wretch 
Uncapable  of  pity,  void  and  empty  5 

From  any  dram  of  mercy. 

Antonio.  I  have  heard 

Your  Grace  hath  ta'en  great  pains  to  qualify 
His  rigorous  course ;  but,  since  he  stands  obdurate, 
And  that  no  lawful  means  can  carry  me 
Out  of  his  envy's  reach,  I  do  oppose  lo 

My  patience  to  his  fury ;  and  am  arm'd 
To  suffer,  with  a  quietness  of  spirit. 
The  very  tyranny  and  rage  of  his. 

Duke.    Go  one,  and  call  the  Jew  into  the  court.  14 

Salerio.    He  is  ready  at  the  door :  he  comes,  my  lord. 

7-8.  Printed  as  three  lines  in  Qi.       15.  Salerio  Q2Q3Q4  I  Sal.  QiFf. 

I.  What.  An  exclamation  of  attention,  not  surprise.  Cf. "  Hwaet !  " 
in  the  opening  line  of  Beowulf.     Cf.  11.  46,  no. 

9.  that :  because.    See  Abbott,  §  285. 

10.  envy's  :  malice's.    So  *  envious*  in  the  sense  of  'malicious*  in 
III,  ii,  277.    Cf.  Romeo  and  Juliet^  III,  i,  173. 

lOI 


102        THE  NEW  HUDSON  SHAKESPEARE    act  iv 

Enter  Shylock 

Duke.    Make  room,  and  let  him  stand  before  our  face.  — 
Shylock,  the  world  thinks,  and  I  think  so  too. 
That  thou  but  lead'st  this  fashion  of  thy  malice 
To  the  last  hour  of  act;  and  then  'tis  thought 
Thou  'it  show  thy  mercy  and  remorse,  more  strange  20 

Than  is  thy  strange  apparent  cruelty ; 
And  where  thou  now  exact'st  the  penalty, 
Which  is  a  pound  of  this  poor  merchant's  flesh, 
Thou  wilt  not  only  loose  the  forfeiture. 
But,  touch'd  with  human  gentleness  and  love,  25 

Forgive  a  moiety  of  the  principal ; 
•Glancing  an  eye  of  pity  on  his  losses, 
That  have  of  late  so  huddled  on  his  back, 
Enow  to  press  a  royal  merchant  down, 
And  pluck  commiseration  of  his  state  3° 

Prom  brassy  bosoms  and  rough  hearts  of  flint, 

25.  human  Rowe  |  humane  QiFf.  31.  flint  Qi  |  flints  Q2F1. 

18-21.  Keepest  up  this  manner  or  appearance  of  malice  to  the 
latest  minute,  and  then  thou  wilt  show  pity. 
20.  remorse :  pity.    So  in  Macbeth^  I,  v,  45. 

26.  maiety.  This  word  is  used  fifteen  times  by  Shakespeare ; 
never  in  the  etymological  sense  of  '  a  half '  (Lat.  medietas^  Fr.  moitie)^ 
but  always  as  it  is  used  here,  signifying  '  a  portion,'  unless  it  may  be 
held  to  mean  '  a  third '  in  i  Henry  IV^  III,  i,  96. 

29.  royal  merchant.  A  complimentary  phrase,  to  indicate  the 
wealth  and  social  standing  of  Antonio.  In  Shakespeare's  time,  Sir 
Thomas  Gresham  was  so  called,  from  his  great  wealth  and  from  his 
close  financial  relations  with  the  court  and  the  queen.  The  term 
was  also  applied  to  great  Italian  merchants,  such  as  the  Giustiniani 
and  the  Grimaldi,  the  Medici  and  the  Pazzi,  some  of  whom  held 
mortgages  on  kingdoms  and  acquired  the  titles  of  princes  for  them- 
selves.   Cf.  the  modem  expression  *  merchant  prince.* 


SCENE  I         THE   MERCHANT  OF  VENICE  lOJ 

From  stubborn  Turks  and  Tartars,  never  train'd 
To  offices  of  tender  courtesy. 

We  all  expect  a  gentle  answer,  Jew.  34- 

Shylock.    I  have  possess 'd  your  Grace  of  what  I  purpose ;. 
And  by  our  holy  Sabbath  have  I  sworn 
To  have  the  due  and  forfeit  of  my  bond : 
If  you  deny  it,  let  the  danger  light 
Upon  your  charter  and  your  city's  freedom. 
You  '11  ask  me,  why  I  rather  choose  to  have  4^ 

A  weight  of  carrion-flesh  than  to  receive 
Three  thousand  ducats  :  I  '11  not  answer  that  ; 
But,  say,  it  is  my  humour ;  is  it  answer'd  ? 
What  if  my  house  be  troubl'd  with  a  rat. 
And  I  be  pleas'd  to  give  ten  thousand  ducats  45 

To  have  it  ban'd  !    What,  are  you  answer'd  yet? 
Some  men  there  are  love  not  a  gaping  pig ; 

35.  Shylock  I  Jew  QqFf.  36.  Sabbath  QiFf  I  Sabaoth  Q2. 

34.  Here,  as  in  II,  vi,  51,  there  may  be  a  pun  on  'gentle.' 

35.  possessed :  informed  fully.    So  in  I,  iii,  60. 

39.  Perhaps  Shakespeare  had  London  in  his  mmd,  which  held 
certain  rights  and  franchises  by  royal  charter,  and  was  liable  to  have- 
its  charter  revoked  for  an  act  of  flagrant  injustice. 

43.  The  meaning  seems  to  be  :  What  if  I  should  say  it  is  my 
humor;  is  that  an  answer.?  In  the  Elizabethan  time  humor  was 
used,  much  as  conscience  was  at  a  later  period,  to  justify  any  eccen- 
tric impulse  for  which  no  ground  of  reason  could  be  alleged.  Thus,. 
if  a  man  had  an  individual  crotchet  which  he  meant  should  over- 
ride the  laws  and  conditions  of  our  social  being,  it  was  his  humor. 

46.  ban*d:  poisoned.    Cf.  Measure  for  Measure^  I,  ii,  133. 

47.  A  pig's  head  as  roasted  for  the  table.  In  England  a  boar's- 
head  was  served  up  at  Christmas  with  a  lemon  in  its  mouth.  So  in 
Webster's  Duchess  of  Malfi,  III,  ii:  "He  could  not  abide  to  see- 
a  pig's  head  gaping :  I  thought  your  grace  would  find  him  a  Jew.'" 
And  in  Fletcher's  Elder  Brother^  II,  ii,  "Gaping  like  a  roasted  pig.*' 


I04       THE  NEW  HUDSON   SHAKESPEARE    act  iv 

Some,  that  are  mad  if  they  behold  a  cat ; 

And  others,  when  the  bag-pipe  sings  i'  the  nose. 

Masters  of  passion  sways  it  to  the  mood  50 

Of  what  it  Hkes  or  loathes.    Now,  for  your  answer : 

As  there  is  no  firm  reason  to  be  render'd. 

Why  he  cannot  abide  a  gaping  pig ; 

Why  he,  a  harmless  necessary  cat ; 

Why  he,  a  woollen  bag-pipe,  but  of  force  55 

Must  yield  to  such  inevitable  shame 

As  to  offend,  himself  being  offended ; 

So  can  I  give  no  reason,  nor  I  will  not. 

More  than  a  lodg'd  hate  and  a  certain  loathing 

I  bear  Antonio,  that  I  follow  thus  60 

A  losing  suit  against  him.    Are  you  answer'd? 

50.  sways.  For  discussion  of  third  person  plural  in  -s,  see  Abbott, 
§  ;i^;^.  —  it.    Passion. 

51.  of  what  it  likes  or  loathes.  An  axiomatic  saying.  Even  the 
greatest  masters  of  passion  move  and  rule  it  according  as  it  is  pre- 
disposed. Shakespeare's  power  lies  partly  in  that  fact :  hence,  in 
his  work,  the  passions  are  rooted  in  the  persons,  instead  of  being 
merely  pasted  on.  Grant  White  suggests  that  '  masters  of  passion  ' 
may  refer  to  "  those  things  or  occurrences  (such  as  the  instances  just 
cited  by  Shylock)  that  move  either  the  sympathy  or  antipathy  of 
any  man." 

55.  a  woollen  bag-pipe.  Bagpipes  used  to  be  carried  or  kept  in 
woolen  cases.    Johnson  proposed  '  wooden,'  and  Sir  John  Hawkins 

*  swollen';  which  latter  Steevens  adopted.  Collier's  Second  Folio 
has  'bollen,'  which  is  an  old  word  meaning  about  the  same  as 

*  swollen';  and  Dyce  adopts  that  reading.  'Wauling'  is  Capell's 
conjecture ;  and  both  Dr,  Ingleby  and  Mr.  A.  E.  Brae,  each  inde- 
pendently of  the  other,  and  without  being  aware  of  Capell's  con- 
jecture, hit  upon  the  same  correction.  Mason  notes  that  it  is  not 
by  the  sight  of  the  bagpipe  that  persons  are  affected,  but  by  the 
sound. 


SCENE  I         THE   MERCHANT  OF  VENICE  10$ 

Bassanio.    This  is  no  answer,  thou  unfeeHng  man, 
To  excuse  the  current  of  thy  cruelty.  63 

Shylock.    I  am  not  bound  to  please  thee  with  my  answer. 

Bassanio.    Do  all  men  kill  the  things  they  do  not  love  ? 

Shylock.    Hates  any  man  the  thing  he  would  not  kill? 

Bassanio.    Every  offence  is  not  a  hate  at  first.  67 

Shylock.    What,  wouldst  thou  have  a  serpent  sting  thee 
twice  ? 

Antonio.    I  pray  you,  think  you  question  with  the  Jew. 
You  may  as  well  go  stand  upon  the  beach,  70 

And  bid  the  main  flood  bate  his  usual  height ; 
You  may  as  well  use  question  with  the  wolf, 
Why  he  hath  made  the  ewe  bleat  for  the  lamb ; 
You  may  as  well  forbid  the  mountain  pines 
To  wag  their  high  tops,  and  to  make  no  noise,  75 

When  they  are  fretted  with  the  gusts  of  heaven ; 
You  may  as  well  do  anything  most  hard, 
As  seek  to  soften  that  —  than  which  what 's  harder  ?  — 
His  Jewish  heart :  therefore,  I  do  beseech  you. 
Make  no  more  offers,  use  no  further  means ;  80 

But  with  all  brief  and  plain  conveniency 
Let  me  have  judgment,  and  the  Jew  his  will. 

72.  You  may  Qq  |  Or  even  Ff.  the  Lambe :  Fi  |  The  ewe  bleate  for 

73.  Why  he  hath  made  the  ewe       the   Lambe :   when   you  behold,  F2 
bleat  for  the  lamb :  Q3Q4  I  Why  he       F3F4  Rowe. 

hath  made  the  ewe   bleake   for  the  76.  fretted  Ff  |  fretten  Qq. 

Lambe:    Qi  |  The   ewe    bleate    for  78.  what 's  Qq  |  what  F1F2F8. 

69.  "  Remember  you  are  arguing  with  Shylock,  whose  cruel  nature 
is  known."  —  Clar. 

71.  main  flood:  ocean  tide.  —  bate:  lessen,  reduce. 

81.  brief  and  plain  conveniency :  convenient  brevity  and  plainness. 

82.  Let  the  sentence  proceed  against  me  with  such  promptness 
and  directness  as  befit  the  administration  of  justice. 


I06        THE  NEW  HUDSON   SHAKESPEARE    act  iv 

Bassanio.    For  thy  three  thousand  ducats  here  is  six. 

Shylock.    If  every  ducat  in  six  thousand  ducats 
Were  in  six  parts,  and  every  part  a  ducat,  85 

I  would  not  draw  them ;   I  would  have  my  bond. 

Duke.    How  shalt  thou  hope  for  mercy,  rendering  none  ? 

Shylock.    What  judgment  shall  I  dread,  doing  no  wrong? 
You  have  among  you  many  a  purchas'd  slave. 
Which,  like  your  asses  and  your  dogs  and  mules,  90 

You  use  in  abject  and  in  slavish  parts. 
Because  you  bought  them  :  shall  I  say  to  you, 
Let  them  be  free,  marry  them  to  your  heirs? 
Why  sweat  they  under  burthens?  let  their  beds 
Be  made  as  soft  as  yours,  and  let  their  palates  95 

Be  season 'd  with  such  viands?    You  will  answer, 
*  The  slaves  are  ours.'  —  So  do  I  answer  you  : 
The  pound  of  flesh,  which  I  demand  of  him, 
Is  dearly  bought ;  't  is  mine,  and  I  will  have  it. 
If  you  deny  me,  fie  upon  your  law  !  100 

There  is  no  force  in  the  decrees  of  Venice. 
I  stand  for  judgment :  answer;  shall  I  have  it? 

Duke.    Upon  my  power  I  may  dismiss  this  court. 
Unless  Bellario,  a  learned  doctor. 

Whom  I  have  sent  for  to  determine  this,  105 

Come  here  to-day. 

Salerio.  My  lord,  here  stays  without 

A  messenger  with  letters  from  the  doctor, 
New  come  from  Padua. 

Duke.    Bring  us  the  letters  ;  call  the  messenger.  109 

Bassanio.  Good  cheer,  Antonio  !  What,  man,  courage  yet ! 

io6.  Salerio  Q2  I  Saler.Qi  |  Sal.  109.  messenger  Qq  |  messengers 

Ff.  Ff. 


SCENE  I         THE   MERCHANT  OF  VENICE  107 

The  Jew  shall  have  my  flesh,  blood,  bones,  and  all, 
Ere  thou  shalt  lose  for  me  one  drop  of  blood. 

Antonio.    I  am  a  tainted  wether  of  the  flock, 
Meetest  for  death  :  the  weakest  kind  of  fruit 
Drops  earliest  to  the  ground  ;  and  so  let  me  :  115 

You  cannot  better  be  employ'd,  Bassanio, 
Than  to  live  still,  and  write  mine  epitaph. 

Enter  Nerissa,  dressed  like  a  lawyer'' s  clerk 

Duke.    Came  you  from  Padua,  from  Bellario? 

Nerissa.  From  both,  my  lord.   Bellario  greets  your  Grace. 

\_Presenting  a  letter^ 

Bassanio.    Why  dost  thou  whet  thy  knife  so  earnestly? 

Shylock.    To  cut  the  forfeiture  from  that  bankrupt  there. 

Gratiano.    Not  on  thy  sole,  but  on  thy  soul,  harsh  Jew, 
Thou  mak'st  thy  knife  keen ;  but  no  metal  can,  123 

No,  not  the  hangman's  axe,  bear  half  the  keenness 
Of  thy  sharp  envy.    Can  no  prayers  pierce  thee? 

Shylock.    No,  none  that  thou  hast  wit  enough  to  make. 

Gratiano.    O,  be  thou  damn'd,  inexecrable  dog  1 
And  for  thy  life  let  justice  be  accus'd. 
Thou  almost  mak'st  me  waver  in  my  faith. 
To  hold  opinion  with  Pythagoras,  130 

112.  lose  Qi  I  loose  Q2F1F2F8.  my  L.Qi  |  both.  My  Lord  (two  lines) 

118.  Scene    II     Pope.  —  dressed       Ff. 

.  .  .  clerk  Rowe  |  omitted  in  Ff .  127.  inexecrable  QqFiF2 1  inexor- 

119.  both,  my  lord.   Camb  |  both,       able  F8F4. 

127.  inexecrable :  "  that  cannot  be  execrated  enough."  —  Clar. 

128.  Let  justice  be  impeached  or  arraigned  for  suffering  thee  to  live. 
130.  Pythagoras.    The  ancient  philosopher  of  Samos,  who  is  said 

to  have  held  the  doctrine  of  transmigration  of  souls.  Shakespeare 
has  two  other  famous  references  to  him  and  his  tenets  :  As  You  Like 
It,  III,  ii,  187,  and  Twelfth  Night,  IV,  ii,  53-65. 


I08        THE  NEW  HUDSON  SHAKESPEARE    act  iv 

That  souls  of  animals  infuse  themselves 

Into  the  trunks  of  men  :  thy  currish  spirit 

Govern'd  a  wolf,  who,  hang'd  for  human  slaughter. 

Even  from  the  gallows  did  his  fell  soul  fleet, 

And,  whilst  thou  lay'st  in  thy  unhallow'd  dam,  135 

Infus'd  itself  in  thee ;  for  thy  desires 

Are  wolfish,  bloody,  starv'd,  and  ravenous. 

Shylock.    Till  thou  canst  rail  the  seal  from  off  my  bond. 
Thou  but  offend 'st  thy  lungs  to  speak  so  loud  : 
Repair  thy  wit,  good  youth,  or  it  will  fall  140 

To  cureless  ruin.    I  stand  here  for  law. 

Duke.    This  letter  from  Bellario  doth  commend 
A  young  and  learned  doctor  to  our  court.  — 
Where  is  he? 

Nerissa.       He  attendeth  here  hard  by, 
To  know  your  answer,  whether  you  '11  admit  him.  145 

Duke.    With  all  my  heart.  —  Some  three  or  four  of  you 
Go  give  him  courteous  conduct  to  this  place.  — 
Meantime  the  court  shall  hear  Bellario's  letter.  148 

Clerk.    [^Reads'] 

Your  Grace  shall  understand,  that  at  the  receipt  of  your  letter 
I  am  very  sick:  but  in  the  instant  that  your  messenger  came, 
in  loving  visitation  was  with  me  a  young  doctor  of  Rome ;  his 
name  is  Balthasar.  I  acquainted  him  with  the  cause  in  contro- 
versy between  the  Jew  and  Antonio  the  merchant :  we  turn'd 
o'er  many  books  together :  he  is  f urnish'd  with  my  opinion ; 
which,  better'd  with  his  own  learning,  —  the  greatness  whereof 

141.  cureless   Qq  |  endless    Ff  I  143.  to  Qq  |  in  Ff. 

careless  Pope.  149.  Clerk.  [A'^^a^j]  |  QqFf  omit. 

133-  who,  hang'd.    Nominative  absolute.    See  Abbott,  §  376. 
139.  to   speak:   in  speaking.    Infinitives   used   indefinitely.    See 
Abbott,  §  356. 


SCENE  I         THE   MERCHANT  OF  VENICE  109 

I  cannot  enough  commend,  —  comes  with  him,  at  my  impor- 
tunity, to  fill  up  your  Grace's  request  in  my  stead.  I  beseech 
you,  let  his  lack  of  years  be  no  impediment  to  let  him  lack  a 
reverend  estimation ;  for  I  never  knew  so  young  a  body  with  so 
old  a  head.  I  leave  him  to  your  gracious  acceptance,  whose 
trial  shall  better  publish  his  commendation.  161 

Duke.    You  hear  the  learned  Bellario,  what  he  writes : 
And  here,  I  take  it,  is  the  doctor  come.  — 

Enter  Portia,  dressed  like  a  doctor  of  laws 

Give  me  your  hand.    Come  you  from  old  Bellario? 

Portia.    I  did,  my  lord. 

Duke.  You  are  welcome  :  take  your  place. 

Are  you  acquainted  with  the  difference  166 

That  holds  this  present  question  in  the  court? 

Portia.    I  am  informed  throughly  of  the  cause. 
Which  is  the  merchant  here,  and  which  the  Jew? 

Duke.    Antonio  and  old  Shylock,  both  stand  forth.      170 

Portia.    Is  your  name  Shylock? 

Shylock.  Shylock  is  my  name. 

Portia.    Of  a  strange  nature  is  the  suit  you  follow ; 
Yet  in  such  rule,  that  the  Venetian  law 

161.  After  this  line  in  QqFf  '  En-  164.  Enter  .  .  .    |   Enter    Portia 

ter  Portia  for  Balthasar '  (Balthazer  Dress'd  like  a  Doctor  of  Laws  Rowe. 
Q1Q2  I  Balthazar  F1F2).  164.  Come  Qq  |  Came  Ff. 

158-159.  Let  his  youthfulness  be  no  hindrance  to  his  being  rever- 
ently esteemed.  Professor  Gummere  suggests  that  *let  him  lack* 
may  be  a  printer's  repetition  of  *  let  his  lack  ' ;  but  as  the  text  stands 
the  play  upon  words  is  thoroughly  Shakespearian. 

160.  whose :  for  his.    See  Abbott,  §  263. 

167.  question.  The  dispute  to  decide  which  the  present  inquiry 
is  held. 


no        THE  NEW  HUDSON  SHAKESPEARE    act  iv 

Cannot  impugn  you  as  you  do  proceed.  — 

You  stand  within  his  danger,  do  you  not?  175 

Antonio.    Ay,  so  he  says. 

Portia.  Do  you  confess  the  bond  ? 

Antonio.    I  do. 

Portia.  Then  must  the  Jew  be  merciful. 

Shylock.    On  what  compulsion  must  I  ?  tell  me  that. 

Portia.    The  quality  of  mercy  is  not  strain'd ; 
It  droppeth  as  the  gentle  rain  from  heaven  180 

Upon  the  place  beneath  :  it  is  twice  blest ; 
It  blesseth  him  that  gives,  and  him  that  takes : 
'T  is  mightiest  in  the  mightiest :  it  becomes 
The  throned  monarch  better  than  his  crown ; 
His  sceptre  shows  the  force  of  temporal  power,  185 

The  attribute  to  awe  and  majesty, 

175.  "  Within  one's  danger "  properly  meant  within  some  one's 
power  or  control,  liable  to  a  penalty  which  he  might  impose.  Some- 
times, however,  it  was  used  for  being  in  some  one's  debt.  Here 
the  meaning  seems  to  be.  Your  life  is  in  his  power,  and  so  in  danger 
from  him.    See  Skeat  for  history  of  the  word  'danger.' 

179.  The  nature  of  mercy  is  to  act  freely,  not  from  constraint. 
Portia  had  used  '  must '  in  a  moral  sense,  and  the  Jew  puiposely 
took  it  in  a  legal  sense.  This  gives  a  natural  occasion  and  impulse 
for  her  strain  of  "heavenly  eloquence." 

183.  This  may  mean,  either  that  mercy  exists  in  the  greatest 
plenitude  in  Him  who  is  omnipotent,  or  that  the  more  power  one 
has  to  inflict  pain,  the  more  one  bows  and  subdues  the  heart  by 
showing  mercy.  If  the  former,  it  should  be  printed  "  in  the  Might- 
iest." It  was  evidently  a  favorite  idea  with  Shakespeare  that  the 
noblest  and  most  amiable  thing  is  power  mixed  with  gentleness ;  and 
that  the  highest  style  of  manhood  is  that  which  knows  no  fear  of 
pain,  but  is  a  child  to  the  touches  of  compassion. 

186.  The  thing  attributed  or  assigned  for  the  purpose  of  inspiring 
awe  and  of  symbolizing  majesty. 


SCENE  I         THE   MERCHANT  OF  VENICE  ill 

Wherein  doth  sit  the  dread  and  fear  of  kings ; 

But  mercy  is  above  this  sceptred  sway ; 

It  is  enthroned  in  the  hearts  of  kings, 

It  is  an  attribute  to  God  himself ;  190 

And  earthly  power  doth  then  show  likest  God*s 

When  mercy  seasons  justice.    Therefore,  Jew, 

Though  justice  be  thy  plea,  consider  this,  — 

That,  in  the  course  of  justice,  none  of  us 

Should  see  salvation  :  we  do  pray  for  mercy ;  195 

And  that  same  prayer  doth  teach  us  all  to  render 

The  deeds  of  mercy.    I  have  spoke  thus  much 

To  mitigate  the  justice  of  thy  plea ; 

Which  if  thou  follow,  this  strict  court  of  Venice 

Must  needs  give  sentence  Against  the  merchant  there.      200 

Shylock.    My  deeds  upon  my  head  !    I  crave  the  law, 
The  penalty  and  forfeit  of  my  bond. 

Portia.    Is  he  not  able  to  discharge  the  money? 

Bassanio.    Yes,  here  I  tender  it  for  him  in  the  court ; 
Yea,  twice  the  sum  :  if  that  will  not  suffice,  205 

I  will  be  bound  to  pay  it  ten  times  o'er. 
On  forfeit  of  my  hands,  my  head,  my  heart : 

191.  likest  Q2Ff  |  lik'st  Qi.  199.  court  Qq  |  course  Ff. 

196.  "  Portia,  referring  the  Jew  to  the  Christian  doctrine  of  sal- 
vation, and  the  Lord's  Prayer,  is  a  little  out  of  character."  So 
says  Judge  Blackstone ;  whereas  the  Lord's  Prayer  was  itself  but  a 
compilation,  all  the  petitions  in  it  being  taken  out  of  the  ancient 
euchologies  or  prayer  books  of  the  Jews.  So  in  Ecclesiasticus^ 
xxviii,  2  :  "  Forgive  thy  neighbour  the  hurt  that  he  hath  done  unto 
thee,  so  shall  thy  sins  also  be  forgiven  when  thou  prayest." 

205.  twice.  In  previous  editions  of  Hudson's  Shakespeare  the 
reading  *  thrice*  was  followed  to  bring  the  statement  into  6xact 
agreement  with  that  in  11.  222,  229,  but  in  Shakespeare  there  are 
many  slips  of  this  kind. 


112        THE   NEW  HUDSON   SHAKESPEARE    act  iv 

If  this  will  not  suffice,  it  must  appear 

That  malice  bears  down  truth.    And  I  beseech  you, 

Wrest  once  the  law  to  your  authority  :  210 

To  do  a  great  right,  do  a  little  wrong ; 

And  curb  this  cruel  devil  of  his  will. 

Portia.    It  must  not  be ;  there  is  no  power  in  Venice 
Can  alter  a  decree  estabHshed  : 

'Twill  be  recorded  for  a  precedent ;  215 

And  many  an  error,  by  the  same  example, 
Will  rush  into  the  state.    It  cannot  be. 

Shylock.    a  Daniel  come  to  judgment !  yea,  a  Daniel ! 
O  wise  young  judge,  how  I  do  honour  thee  ! 

Portia.    I  pray  you,  let  me  look  upon  the  bond.         220 

Shylock.    Here  't  is,  most  reverend  doctor ;  here  it  is. 

Portia.    Shylock,  there  's  thrice  thy  money  offer'd  thee. 

Shylock.    An  oath,  an  oath,  I  have  an  oath  in  heaven  : 
Shall  I  lay  perjury  upon  my  soul? 
No,  not  for  Venice. 

Portia.  Why,  this  bond  is  forfeit ;  225 

And  lawfully  by  this  the  Jew  may  claim 
A  pound  of  flesh,  to  be  by  him  cut  off 
Nearest  the  merchant's  heart.  —  Be  merciful ; 
Take  thrice  thy  money ;  bid  me  tear  the  bond. 

Shylock.  When  it  is  paid  according  to  the  tenour.  230 
It  doth  appear  you  are  a  worthy  judge ; 

215.  precedent  Qq  |  President  Ff.  219.    I  do  Qq  |  do  I  Ff. 

209.  truth :  honesty.  A  *  true  '  man  in  old  language  is  an  '  honest  * 
man.    The  honesty  here  is  in  offering  to  pay  thrice  the  money. 

218.  Daniel.  See  The  History  of  Susaftna  and  Bel  and  ike  Dragon 
in  the  Apocrypha.    Cf.  also  Ezekiel,  xxviii,  3 ;  Daniel^  vi,  3. 

230.  tenour.    '  Tenure  '  is  the  Folio  spelling. 


SCENE  I         THE   MERCHANT  OF  VENICE  113 

You  know  the  law,  your  exposition 

Hath  been  most  sound  :  I  charge  you  by  the  law, 

Whereof  you  are  a  well-deserving  pillar, 

Proceed  to  judgment.    By  my  soul  I  swear  235 

There  is  no  power  in  the  tongue  of  man 

To  alter  me  :  I  stay  here  on  my  bond. 

Antonio.    Most  heartily  I  do  beseech  the  court 
To  give  the  judgment. 

Portia.  Why  then,  thus  it  is  : 

You  must  prepare  your  bosom  for  his  knife.  240 

Shylock.    O  noble  judge  !    O  excellent  young  man  ! 

Portia.    For  the  intent  and  purpose  of  the  law 
Hath  full  relation  to  the  penalty. 
Which  here  appeareth  due  upon  the  bond. 

Shylock.  T  is  very  true.  O  wise  and  upright  judge  !  245 
How  much  more  elder  art  thou  than  thy  looks  !. 

Portia.    Therefore  lay  bare  your  bosom. 

Shylock.  Ay,  his  breast : 

So  says  the  bond  :  —  doth  it  not,  noble  judge  ?  — 
Nearest  his  heart :  those  are  the  very  words. 

Portia.  It  is  so.  Are  there  balance  here  to  weigh  250 
The  flesh? 

Shylock.    I  have  them  ready. 

347.  your  QqFiF2F8  I  thy  F4.  250-251.  Printed  as  prose  in  QqFf. 

237.  on:  in  dependence  on.    See  Abbott,  §  180. 

242-243.  The  law  relating  to  contracts  is  fully  applicable  in  this  case. 

246.  more  elder.  Double  comparatives  and  superlatives  are  com- 
mon in  Shakespeare  and  Elizabethan  literature  generally.  See 
Abbott,  §  II. 

250.  balance.  This  singular  form,  due  to  the  sibilant  ending,  is 
common  in  sixteenth  century  literature.  So  in  Baret's  Alvearie 
(1580) :  "  Balances,  or  a  payre  of  balance." 


114        THE  NEW  HUDSON  SHAKESPEARE    act  iv 

Portia.    Have  by  some  surgeon,  Shylock,  on  your  charge, 
To  stop  his  wounds,  lest  he  do  bleed  to  death. 

Shylock.    Is  it  so  nominated  in  the  bond? 

Portia.    It  is  not  so  express'd;  but  what  of  that?       255 
'T  were  good  you  do  so  much  for  charity. 

Shylock.    I  cannot  find  it;  'tis  not  in  the  bond. 

Portia.    Come,  merchant,  have  you  any  thing  to  say? 

Antonio.    But  little  :  I  am  arm'd  and  well  prepar'd.  — 
Give  me  your  hand,  Bassanio  :  fare  you  well !  260 

Grieve  not  that  I  am  fall'n  to  this  for  you ; 
For  herein  Fortune  shows  herself  more  kind 
Than  is  her  custom  :  it  is  still  her  use 
To  let  the  wretched  man  outlive  his  wealth. 
To  view  with  hollow  eye  and  wrinkled  brow  265 

An  age  of  poverty ;  from  which  lingering  penance 
Of  such  a  misery  doth  she  cut  me  off. 
Commend  me  to  your  honourable  wife  : 
Tell  her  the  process  of  Antonio's  end ; 
Say  how  I  lov'd  you,  speak  me  fair  in  death ;  270 

And,  when  the  tale  is  told,  bid  her  be  judge 
Whether  Bassanio  had  not  once  a  love. 
Repent  not  you  that  you  shall  lose  your  friend, 
And  he  repents  not  that  he  pays  your  debt ; 
For,  if  the  Jew  do  cut  but  deep  enough,  275 

I  '11  pay  it  instantly  with  all  my  heart. 

253-  do  Qq  |  should  Ff.  267.  such  a  F2F8F4  I  such  QqFi. 

254.  Is  it  so  Qq  I  It  is  not  Ff.  273.  not  you  Ff  |  but  you  Qq. 

258.  Come  Ff  |  you  Qq.  276.  instantly  QiFf  |  presently  Qi. 

263.  still  her  use:  ever  her  custom.    See  note,  p.  4,  1.  17. 
270.  "Speak  well  of  me  when  I  am  dead."  —  Clar.    Or,  perhaps, 
Tell  the  world  that  I  died  like  a  man. 

276.  An  equivoque  on  '  heart ' ;  and  it  rather  heightens  the  pathos. 


SCENE  I         THE   MERCHANT  OF  VENICE  115 

Bassanio.    Antonio,  I  am  married  to  a  wife 
Which  is  as  dear  to  me  as  life  itself ; 
But  life  itself,  my  wife,  and  all  the  world, 
Are  not  with  me  esteem 'd  above  thy  life  :  280 

I  would  lose  all,  ay,  sacrifice  them  all 
Here  to  this  devil,  to  deliver  you. 

Portia.    Your  wife  would  give  you  little  thanks  for  that. 
If  she  were  by,  to  hear  you  make  the  offer. 

Gr  ATI  AND.    I  have  a  wife,  whom,  I  protest,  I  love :      285 
I  would  she  were  in  heaven,  so  she  could 
Entreat  some  power  to  change  this  currish  Jew. 

Nerissa.    T  is  well  you  offer  it  behind  her  back ; 
The  wish  would  make  else  an  unquiet  house. 

Shylock.    [Aside']  These  be  the  Christian  husbands  !    I 
have  a  daughter ;  290 

Would  any  of  the  stock  of  Barrabas 
Had  been  her  husband  rather  than  a  Christian  ! 
[^A/oud]  We  trifle  time  :  I  pray  thee,  pursue  sentence. 

Portia.    A  pound  of  that  same  merchant's  flesh  is  thine  : 
The  court  awards  it,  and  the  law  doth  give  it.  295 

Shylock.    Most  rightful  judge  ! 

Portia.    And  you  must  cut  this  flesh  from  off  his  breast : 
The  law  allows  it,  and  the  court  awards  it. 

Shylock.    Most   learned   judge !     A  sentence !     Come, 
prepare ! 

Portia.    Tarry  a  little ;  there  is  something  else.  300 

This  bond  doth  give  thee  here  no  jot  of  blood ; 

281.  ay,  Pope  |  I  QqFf.  285.  whom  Ff  |  who  Qq. 

278.  *  Which  '  for  'who.'    A  common  usage.    See  Abbott,  §  265. 
291.  Barrabas.    Here,  as  with  Barabas  in  TAe  Jew  of  Malta,  the 
word  is  accented  on  the  first  syllable. 


Il6        THE  NEW  HUDSON   SHAKESPEARE    act  iv 

The  words  expressly  are,  a  pound  of  flesh : 

Take  then  thy  bond,  take  thou  thy  pound  of  flesh ; 

But,  in  the  cutting  it,  if  thou  dost  shed 

One  drop  of  Christian  blood,  thy  lands  and  goods  305 

Are,  by  the  laws  of  Venice,  confiscate 

Unto  the  state  of  Venice. 

Gratiano.  O  upright  judge !  Mark,  Jew;  O  learned  judge ! 

Shylock.    Is  that  the  law  ! 

Portia.  Thyself  shalt  see  the  act : 

For,  as  thou  urgest  justice,  be  assur'd  3^0 

Thou  shalt  have  justice,  more  than  thou  desirest. 

Gratiano.  O  learned  judge ! — Mark,  Jew :  a  learned  judge ! 

Shylock.    I  take  this  offer,  then;  —  pay  the  bond  thrice, 
And  let  the  Christian  go. 

Bassanio.  Here  is  the  money. 

Portia.    Soft!  3^5 

The  Jew  shall  have  all  justice  ;  soft !  no  haste  : 
He  shall  have  nothing  but  the  penalty. 

Gratiano.    O  Jew  1  an  upright  judge,  a  learned  judge  ! 

Portia.    Therefore  prepare  thee  to  cut  off  the  flesh. 
Shed  thou  no  blood  ;  nor  cut  thou  less  nor  more  320 

But  just  a  pound  of  flesh  :  if  thou  cut'st  more 
Or  less  than  a  just  pound,  —  be  it  but  so  much 
As  makes  it  light  or  heavy  in  the  substance, 
Or  the  division  of  the  twentieth  part 

Of  one  poor  scruple,  nay,  if  the  scale  do  turn  3^5 

But  in  the  estimation  of  a  hair,  — 
Thou  diest,  and  all  thy  goods  are  confiscate. 

303.  Take  then   Qq  |  Then  take  315-316.  One  line  in  QqFf. 

Ff.  321.  cut'st  Qi  I  tak'st  Q2Ff. 

308.  Two  lines  in  QqFf.  322.  be  it  but  Qq  |  be  it  Ff. 


SCENE  I         THE   MERCHANT  OF  VENICE  117 

Gratiano.    a  second  Daniel,  a  Daniel,  Jew  I 
Now,  infidel,  I  have  thee  on  the  hip. 

Portia.    Why  doth  the  Jew  pause?  take  thy  forfeiture.  330 

Shylock.    Give  me  my  principal,  and  let  me  go. 

Bassanio.    I  have  it  ready  for  thee ;  here  it  is. 

Portia,    He  hath  refus'd  it  in  the  open  court : 
He  shall  have  merely  justice  and  his  bond. 

Gratiano.    A  Daniel,  still  say  I,  a  second  Daniel  1  —  335 
I  thank  thee,  Jew,  for  teaching  me  that  word. 

Shylock.    Shall  I  not  have  barely  my  principal? 

Portia.    Thou  shalt  have  nothing  but  the  forfeiture. 
To  be  so  taken  at  thy  peril,  Jew. 

Shylock.    Why,  then  the  devil  give  him  good  of  it !    34° 
I  '11  stay  no  longer  question. 

Portia.  Tarry,  Jew : 

The  law  hath  yet  another  hold  on  you. 
It  is  enacted  in  the  laws  of  Venice, 
If  it  be  proved  against  an  alien 

That  by  direct  or  indirect  attempts  345 

He  seek  the  life  of  any  citizen, 
The  party  'gainst  the  which  he  doth  contrive 
Shall  seize  one  half  his  goods ;  the  other  half 
Comes  to  the  privy  coffer  of  the  state ; 
And  the  offender's  life  lies  in  the  mercy  35° 

Of  the  Duke  only,  'gainst  all  other  voice. 
In  which  predicament,  I  say,  thou  stand'st ; 
For  it  appears,  by  manifest  proceeding, 

329.  thee  Ff  |  you  Qq.  341.  question  |  here  in  question  Qt 
339.  so  taken  Qq  |  taken  so  Ff.  348.  one  Q2Ff  |  on  Qi. 

330.  In  Fumess  is  a  suggestive  note  on  this  *  pause.' 

352.  predicament.    See  Century  for  the  history  of  this  word. 


Il8        THE  NEW  HUDSON  SHAKESPEARE   act  iv 

That  indirectly,  and  directly  too, 

Thou  hast  contriv'd  against  the  very  life  355 

Of  the  defendant ;  and  thou  hast  incurred 

The  danger  formerly  by  me  rehears'd. 

Down,  therefore,  and  beg  mercy  of  the  Duke. 

Gratiano.  Beg  that  thou  mayst  have  leave  to  hang  thyself : 
And  yet,  thy  wealth  being  forfeit  to  the  state,  360 

Thou  hast  not  left  the  value  of  a  cord ; 
Therefore  thou  must  be  hang'd  at  the  state's  charge. 

Duke.    That  thou  shalt  see  the  difference  of  our  spirits, 
I  pardon  thee  thy  life  before  thou  ask  it : 
For  half  thy  wealth,  it  is  Antonio's ;  365 

The  other  half  comes  to  the  general  state, 
Which  humbleness  may  drive  unto  a  fine. 

Portia.    Ay,  for  the  state ;  not  for  Antonio. 

Shylock.    Nay,  take  my  life  and  all ;  pardon  not  that : 
You  take  my  house,  when  you  do  take  the  prop  370 

That  doth  sustain  my  house ;  you  take  my  life. 
When  you  do  take  the  means  whereby  I  live. 

Portia.    What  mercy  can  you  render  him,  Antonio? 

Gratiano.    A  halter  gratis ;  nothing  else,  for  God's  sake. 

Antonio.  So  please  my  lord  the  Duke  and  all  the  court 
To  quit  the  fine  for  one  half  of  his  goods,  Z7^ 

I  am  content ;  so  he  will  let  me  have 

355.  hast  QqFi  I  had  F2F3F4.  363.  spirits  Qi  |  spirit  Q2Ff. 

367.  Submission  on  your  part  may  move  me  to  r-^duce  it  to  a  fine. 

368.  Meaning,  apparently,  that  the  reduction  of  the  forfeiture  to 
a  fine  should  apply  only  to  that  half  of  his  goods  which  was  to  come 
to  the  coffer  of  the  state,  not  to  that  which  fell  to  Antonio. 

376.  If  the  court  will  remit  the  fine  or  acquit  Shylock  of  the  for- 
feiture so  far  as  the  claim  of  the  state  is  concerned.  Shakespeare 
often  uses  'quit 'for  'acquit 'or  'release.'    Qi.  As  You  Like  It  yllli'i^iu 


SCENE  I         THE   MERCHANT  OF  VENICE  119 

The  other  half  in  use,  to  render  it, 

Upon  his  death,  unto  the  gentleman 

That  lately  stole  his  daughter  :  380 

Two  things  provided  more,  —  that,  for  this  favour, 

He  presently  become  a  Christian ; 

The  other,  that  he  do  record  a  gift. 

Here  in  the  court,  of  all  he  dies  possessed, 

Unto  his  son  Lorenzo  and  his  daughter.  385 

Duke.    He  shall  do  this ;  or  else  I  do  recant 
The  pardon  that  I  late  pronounced  here. 

Portia.    Art  thou  contented,  Jew?  what  dost  thou  say? 

Shylock.    I  am  content. 

Portia.  Clerk,  draw  a  deed  of  gift. 

Shylock.    I  pray  you,  give  me  leave  to  go  from  hence;  390 
I  am  not  well :  send  the  deed  after  me. 
And  I  will  sign  it. 

Duke.  Get  thee  gone,  but  do  it. 

Gratiano.    In  christening  shalt  thou  have  two  godfathers  : 

389.  Clerk  I  Clearke  Qi  |  Clarke  Fi.        393.  shalt  thou  Qq  |  thou  shalt  Ff. 

378.  "  That  is,  in  trust  for  Shylock  during  his  life,  for  the  purpose 
of  securing  it  at  his  (not  '  my,'  as  suggested  by  Johnson)  death  to 
Lorenzo.  ...  In  conveyances  of  land,  where  it  is  intended  to  give 
the  estate  to  any  person  after  the  death  of  another,  it  is  necessary 
that  a  third  person  should  be  possessed  of  the  estate,  and  the  use 
be  declared  to  the  one  after  the  death  of  the  other,  or  the  estate 
to  the  future  possessor  would  be  rendered  insecure.  This  is  called 
a  conveyance  to  uses."  The  anonymous  author  of  the  foregoing, 
cited  by  Halliwell,  adds  that  Shakespeare  has  rendered  the  old  Latin 
law  phrase  pertaining  to  the  case  "  with  all  the  strictness  of  a  tech- 
nical conveyancer,  and  has  made  Antonio  desire  to  have  one  half 
of  Shylock's  goods  in  use,  —  to  render  it  upon  his  (Shylock*s)  death 
to  Lorenzo  —  not  an  unfrequent  mode  of  securing  a  future  estate." 

382.  presently  •  at  once.    So  below  in  1.  399  and  1.  450. 


I20       THE  NEW  HUDSON  SHAKESPEARE    act  iv 

Had  I  been  judge,  thou  shouldst  have  had  ten  more, 

To  bring  thee  to  the  gallows,  not  the  font.  \_Exit  Shylock] 

Duke.    Sir,  I  entreat  you  home  with  me  to  dinner.      396 

Portia.    I  humbly  do  desire  your  Grace  of  pardon  : 
I  must  away  this  night  toward  Padua, 
And  it  is  meet  I  presently  set  forth. 

Duke.    I  am  sorry  that  your  leisure  serves  you  not.  —  400 
Antonio,  gratify  this  gentleman ; 
For,  in  my  mind,  you  are  much  bound  to  him. 

\_Exeunt  the  Duke  and  his  train'] 

Bassanio.    Most  worthy  gentleman,  I  and  my  friend 
Have  by  your  wisdom  been  this  day  acquitted 
Of  grievous  penalties  ;  in  lieu  whereof,  405 

Three  thousand  ducats,  due  unto  the  Jew, 
We  freely  cope  your  courteous  pains  withal. 

Antonio.    And  stand  indebted,  over  and  above, 
In  love  and  service  to  you  evermore. 

Portia.    He  is  well  paid  that  is  well  satisfied  ;  410 

And  I,  delivering  you,  am  satisfied. 
And  therein  do  account  myself  well  paid  : 
My  mind  was  never  yet  more  mercenary. 
I  pray  you,  know  me  when  we  meet  again  : 
I  wish  you  well,  and  so  I  take  my  leave.  415 

395.  not  the  Qi  |  not  to  the  Q2Ff  396.  home  with  me  Qq  I  with  me 

Q3Q4.  home  Ff. 

394.  Meaning  a  jury  of  twelve  men  to  condemn  him.  This  appears 
to  have  been  an  old  joke,  and  is  found  in  Ben  Jonson. 

397.  An  English  idiom  now  obsolete.  So  in  A  Midsummer  Night'' s 
Dream  J  III,  i,  185  :  "I  shall  desire  you  of  more  acquaintance." 

401.  gratify:  recompense.    Cf.  Coriolanus,ll,\\,  ^^. 

407.  cope:  reward,  requite.  —  withal.  A  preposition  governing 
*  ducats.*    See  Abbott,  §  196. 


SCENE  I         THE   MERCHANT   OF  VENICE  121 

Bassanio.    Dear  sir,  of  force  I  must  attempt  you  further : 
Take  some  remembrance  of  us,  as  a  tribute. 
Not  as  a  fee ;  grant  me  two  things,  I  pray  you, 
Not  to  deny  me,  and  to  pardon  me.  419 

Portia.    You  press  me  far,  and  therefore  I  will  yield.  — 
\_To  Antonio]  Give  me  your  gloves,  I  '11  wear  them  for  your 

sake ;  — 
[  To  Bassanio]  And,  for  your  love,  I  '11  take  this  ring  from  you. 
Do  not  draw  back  your  hand  ;  I  '11  take  no  more  ; 
And  you  in  love  shall  not  deny  me  this. 

Bassanio.    This  ring,  good  sir,  —  alas,  it  is  a  trifle  !     425 
I  will  not  shame  myself  to  give  you  this. 

Portia.    I  will  have  nothing  else  but  only  this ; 
And  now  methinks  I  have  a  mind  to  it. 

Bassanio.  There 's  more  depends  on  this  than  on  the  value. 
The  dearest  ring  in  Venice  will  I  give  you,  430 

And  find  it  out  by  proclamation  : 
Only  for  this,  I  pray  you,  pardon  me. 

Portia.  I  see,  sir,  you  are  liberal  in  offers : 
You  taught  me  first  to  beg ;  and  now  methinks 
You  teach  me  how  a  beggar  should  be  answer'd.  435 

418.  a  fee  Q1F2  I  fee  Q2F1.  424.  this.    Qi  |  this  ?  Q2F1. 

416.  attempt :  tempt.    Cf.  Measure  for  Measure^  IV,  ii,  205. 
429.  The  First  Quarto  reads  : 

There  's  more  then  this  depends  upon  the  valew. 
The  First  Folio : 

There  's  more  depends  on  this  then  on  the  valew. 
Theobald's  conjecture  is  : 

There  's  more  depends  on  this,  than  is  the  value. 
Capell  suggests : 

There  's  more  depends  on  this  than  the  stone's  value. 


122        THE   NEW  HUDSON   SHAKESPEARE    act  iv 

Bassanio.    Good  sir,  this  ring  was  given  me  by  my  wife ; 
And  when  she  put  it  on,  she  made  me  vow 
That  I  should  neither  sell  nor  give  nor  lose  it. 

Portia.  That  'scuse  serves  many  men  to  save  their  gifts. 
And  if  your  wife  be  not  a  mad-woman,  44o 

And  know  how  well  I  have  deserv'd  this  ring, 
She  would  not  hold  out  enemy  for  ever 
For  giving  it  to  me.    Well,  peace  be  with  you  ! 

\_Exeunt  Portia  and  Nerissa] 

Antonio.    My  Lord  Bassanio,  let  him  have  the  ring  : 
Let  his  deservings,  and  my  love  withal,  445 

Be  valued  'gainst  your  wife's  commandment. 

Bassanio.    Go,  Gratiano,  run  and  overtake  him ; 
Give  him  the  ring ;  and  bring  him,  if  thou  canst. 
Unto  Antonio's  house.    Away  !  make  haste.  — 

\_Exit  Gratiano] 
Come,  you  and  I  will  thither  presently ;  45° 

And  in  the  morning  early  will  we  both 
Fly  toward  Belmont :  come,  Antonio.  [^Exeunt] 

Scene  IL    The  same.   A  street 

Enter  Portia  and  Nerissa 

Portia.  Inquire  the  Jew's  house  out,  give  him  this  deed. 
And  let  him  sign  it :  we  '11  away  to-night, 

441.  this  ring  Q2Ff  1  the  ring  Qi.       446.  'gainst  Qs  I  gainst  Qi  |  against  Ff. 

446.  commandment.  Properly  four  syllables  here,  as  if  written 
*  commandement.'  And  so,  in  fact,  it  is  spelled  in  the  Quartos 
('  commaundement,'  Second  Quarto)  and  the  first  three  Folios.  Per- 
haps the  old  spelling  should  in  such  cases  be  retained,  as  in  the  met- 
rical version  of  the  Psalvis  still  used  in  the  Presbyterian  churches 
of  Scotland. 


SCENE  II        THE   MERCHANT   OF  VENICE  123 

And  be  a  day  before  our  husbands  home. 
This  deed  will  be  well  welcome  to  Lorenzo. 


Enter  Gratiano 

Gratiano.    Fair  sir,  you  are  well  o^erta'en  :  5 

My  Lord  Bassanio,  upon  more  advice, 
Hath  sent  you  here  this  ring,  and  doth  entreat 
Your  company  at  dinner. 

Portia.  That  cannot  be  : 

His  ring  I  do  accept  most  thankfully ; 
And  so,  I  pray  you,  tell  him  :  furthermore,  10 

I  pray  you,  show  my  youth  old  Shy  lock's  house. 

Gratiano.    That  will  I  do. 

Nerissa.  Sir,  I  would  speak  with  you. — 

\_Aside  to  Portia]  I  '11  see  if  I  can  get  my  husband's  ring, 
Which  I  did  make  him  swear  to  keep  for  ever. 

Portia.  \Aside  to  Nerissa]  Thou  mayst,  I  warrant.   We 
shall  have  old  swearing  15 

That  they  did  give  the  rings  away  to  men ; 
But  we  '11  outface  them,  and  outswear  them  too. 
Away  !  make  haste  :  thou  know'st  where  I  will  tarry. 

Nerissa.    Come,  good  sir ;  will  you  show  me  to  this  house  ? 

\^Exeunt'\ 

13,  15-  \Astde  .  .  .]  omitted  in  QqFf.      9.  His  ring  Q2Ff  I  This  ring  Qi. 

6.  advice:  consideration.    Cf.  'advised*  in  I,  i,  142. 

15.  old.  A  frequent  intensive  in  colloquial  speech  in  the  sixteenth 
century,  and  reappearing  in  the  twentieth  in  slang  expressions  and 
street  and  college  songs.  So  in  Much  Ado  About  Nothings  V,  ii,  98  : 
"  Yonder 's  old  coil  at  home."  And  in  The  Mer7y  Wives  of  Windsor-, 
I,  iv,  5 :  "  here  will  be  an  old  abusing  of  God's  patience  and  the 
king's  English." 


ACT  V 

Scene  I.  Belmont,   Avenue  to  Portia's  house 
Enter  Lorenzo  and  Jessica 

Lorenzo.  The  moon  shines  bright.  In  such  a  night  as  this, 
When  the  sweet  wind  did  gently  kiss  the  trees, 
And  they  did  make  no  noise,  —  in  such  a  night 
Troilus  methinks  mounted  the  Troyan  walls, 
And  sigh'd  his  soul  toward  the  Grecian  tents,  5 

Where  Cressid  lay  that  night. 

Jessica.  In  such  a  night 

Did  Thisbe  fearfully  o'ertrip  the  dew. 
And  saw  the  lion's  shadow  ere  himself, 
And  ran  dismay 'd  away. 

Avenue  to  .  .  .  Capell  |  A  Grove  4.  Troilus  |  Troylus  Fi. —  Troyan 

or  Green  Place  before  .  .  .  Theobald.       Qi  |  Troian  Fi  |  Trojan  Qa.  —  walls 
I.  Printed  in  two  lines  Qi.  QqFi  |  wall  F2F8F4. 

6.  Cressid  |  CressedFi  |  Cressada 
Qi. 

4.  The  story  of  Troilus  and  Cressida  is  dramatized  in  Shake- 
speare's play  of  that  name.  This  development  of  the  Troy-legend  is 
probably  the  invention  of  Benoit  de  Sainte-More,  a  twelfth  century 
trouvere.  Benoit's  '  Briseida '  became  *  Griseida '  in  Boccaccio's 
//  FilostraiOy  and  •  Criseyde  '  in  Chaucer's  version  of  the  story.  Line 
666,  Book  V,  of  Chaucer's  Troilus  and  Criseyde  may  have  suggested 
the  passage  in  Lorenzo's  speech. 

7.  The  story  of  "  Pyramus  and  his  love  Thisbe  "  is  burlesqued 
in  the  interlude  of  Bottom  and  company  in  A  Midsummer  Night^s 
Dream.  In  Chaucer's  The  Legend  of  Good  Women  the  stories  of 
Thisbe,  Dido,  and  Medea  follow  one  another  in  the  same  order  as  here. 

124 


SCENE  I         THE   MERCHANT  OF  VENICE 


125 


Lorenzo.  In  such  a  night 

Stood  Dido  with  a  willow  in  her  hand  10 

Upon  the  wild  sea  banks,  and  waft  her  love  * 
To  come  again  to  Carthage. 

Jessica.  In  such  a  night 

Medea  gathered  the  enchanted  herbs 
That  did  renew  old  -^son. 

Lorenzo.  In  such  a  night 

Did  Jessica  steal  from  the  wealthy  Jew,  15 

And  with  an  unthrift  love  did  run  from  Venice 
As  far  as  Belmont. 

Jessica.  In  such  a  night 

Did  young  Lorenzo  swear  he  lov'd  her  well. 
Stealing  her  soul  with  many  vows  of  faith, 
And  ne'er  a  true  one. 

Lorenzo.  In  such  a  night  20 

Did  pretty  Jessica,  like  a  little  shrew. 
Slander  her  love,  and  he  forgave  it  her. 

II.  waft  QqFf  I  wav'd  Theobald.  21.  shrew  Qi  |  shrow  Q2Ff. 

10.  Spenser  in  like  sort  makes  the  willow  a  symbol  of  forsaken 
love.  So  in  The  Faerie  Queene^  I,  i,  9.  In  11.  10-12,  as  also  in  11. 1-4, 
Matthew  Arnold  says  "we  have  the  sheer,  inimitable  Celtic  note." 

11.  waft:  wafted.     See  Abbott,  §  341. 

13.  Twice  before  in  this  play  we  have  had  allusions  to  the  story 
of  Jason  and  his  voyage  to  Colchis  (Colchos,  I,  i,  171)  in  quest  of 
the  golden  fleece.  Medea,  daughter  of  the  King  of  Colchis,  fell 
in  love  with  Jason  and  helped  him  to  win  the  fleece ;  then,  having 
stolen  her  father's  treasure,  ran  away  with  her  lover  to  Greece. 
Jason's  father  was  very  old  and  infirm ;  and  Medea,  by  a  broth  of 
magic  herbs,  renewed  the  old  man's  youth.  In  Ovid  {Metamorphoses^ 
VII ;  Golding's  translation,  1567)  the  sorceress  gathers  the  herbs  by 
moonlight;  in  Gower  (Confessio  Amantis^  V),  by  starlight.  Medea's 
elopement  suggests  Jessica's  own  story  to  Lorenzo. 


126        THE  NEW  HUDSON  SHAKESPEARE     act  v 

Jessica.    I  would  out-night  you,  did  no  body  come  : 
But,  hark,  I  hear  the  footing  of  a  man. 

Enter  Stephano 

Lorenzo.    Who  comes  so  fast  in  silence  of  the  night?  25 

Stephano.    A  friend. 

Lorenzo.   A  friend  !  what  friend?  your  name,  I  pray  you, 
friend  ? 

Stephano.    Stephano  is  my  name ;  and  I  bring  word 
My  mistress  will  before  the  break  of  day 
Be  here  at  Belmont :  she  doth  stray  about  30 

By  holy  crosses,  where  she  kneels  and  prays 
For  happy  wedlock  hours. 

Lorenzo.  Who  comes  with  her? 

Stephano.    None  but  a  holy  hermit  and  her  maid. 
I  pray  you,  is  my  master  yet  return'd  ?  34 

Lorenzo.    He  is  not,  nor  we  have  not  heard  from  him.  — 
But  go  we  in,  I  pray  thee,  Jessica, 
And  ceremoniously  let  us  prepare 
Some  welcome  for  the  mistress  of  the  house.  3^ 

23.  no  body  Q2Ff  I  nobody  Qi.  Enter  a  Messenger  Qq  |  Enter  Mes- 

24.  jB«/^r  Stephano  Theobald  I        senger  Ff. 

28.  In  this  play  the  name  Stephano  has  the  accent  on  the  second 
syllable.  In  The  Tempest  the  same  name  has  it,  rightly,  on  the 
first. 

31.  In  old  times  crosses  such  as  are  still  to  be  seen  by  the  traveler 
in  southern  Europe  were  set  up  at  the  intersection  of  roads,  and  in 
other  places  especially  associated  with  saintly  or  heroic  names,  to 
invite  the  passers-by  to  devotion.  And  in  those  days  Christians  were 
much  in  the  habit  of  remembering  in  their  prayers  whatever  lay 
nearest  their  hearts.  Shakespeare  expresses  the  same  old  thought 
still  more  sweetly  in  two  other  places. 


SCENE  I         THE   MERCHANT  OF  VENICE  127 

Enter  Launcelot 

Launcelot.    Sola,  sola  !  wo,  ha,  ho  !  sola,  sola  ! 

Lorenzo.    Who  calls?  40 

Launcelot.  Sola  !  did  you  see  Master  Lorenzo  ?  Master 
Lorenzo,  sola,  sola ! 

Lorenzo.    Leave  hollaing,  man  :  here. 

Launcelot.    Sola  !  where  ?  where  ? 

Lorenzo.    Here.  45 

Launcelot.  Tell  him  there  's  a  post  come  from  my  mas- 
ter, with  his  horn  full  of  good  news :  my  master  will  be 
here  ere  morning.  \Exit\ 

Lorenzo.    Sweet  soul,  let 's  in,  and  there  expect  their 
coming. 
And  yet  no  matter  :  why  should  we  go  in?  —  50 

My  friend  Stephano,  signify,  I  pray  you. 
Within  the  house,  your  mistress  is  at  hand ; 
And  bring  your  music  forth  into  the  air.  —  \_Exit  Stephano] 
How  sweet  the  moonlight  sleeps  upon  this  bank  ! 
Here  will  we  sit,  and  let  the  sounds  of  music  55 

Creep  in  our  ears  :  soft  stillness  and  the  night 
Become  the  touches  of  sweet  harmony. 

2!^.  Enter   LAUNCELOT   Rowe  |  49.  Lorenzo.  Sweet  soul,  let  *s  in 

Enter  Clowne  QqFf.  Malone  |  Lor.    Sweet  love,  let's  in 

41-42.  Master  Lorenzo  ?  Master  Lo-  Rowe  |  sweete  soule.    Loren.  Let's 

renzo  Camb  1  M.  Lorenzo,  &  M.  Lo-  in  QqFi  |  sweet  love.     Lor.  Let's 

renzo  Q2F1 1  M.  Lorenzo,  M.  Loren-  in  F2. 

zo  Qi  I  M.  Lorenzo,  and  M.  Lorenza  51.  Stephano  Q1F2  I  Stephen  Fi. 

F2  I  M.Lorenzoand  M rs. Lorenza F3.  — I  omitted  in  Fi. 

39.  Launcelot  sportively  imitates  the  horn,  referred  to  punningly 
in  1.47,  with  which  the  'post'  used  to  herald  his  approach. 

41-42.  Fumess  humorously  describes  the  evolution  of  the  First 
Folio  text  into  the  *  Master  Lorenzo  and  Mistress  Lorenzo  *  of 
modem  editors, 

49.  expect:  await.    So  in  Milton,  Paradise  Lost^  XII,  591. 


128        THE  NEW  HUDSON  SHAKESPEARE     act  v 

Sit,  Jessica.    Look,  how  the  floor  of  heaven 

Is  thick  inlaid  with  patens  of  bright  gold : 

There  's  not  the  smallest  orb  which  thou  behold'st  60 

But  in  his  motion  like  an  angel  sings. 

Still  quiring  to  the  young-eyed  cherubins : 

Such  harmony  is  in  immortal  souls ; 

But,  whilst  this  muddy  vesture  of  decay 

Doth  grossly  close  it  in,  we  cannot  hear  it.  —  65 

Enter  Musicians 

Come,  ho,  and  wake  Diana  with  a  hymn  ! 

With  sweetest  touches  pierce  your  mistress'  ear, 

And  draw  her  honie  with  music.  [^Music] 

59.  patens  |  pattens  Q2F1 1  pattents  65.  close  it  in  Q2  I  close  in    it 

Qi  1  patterns  F2  I  patines  Malone.  Qi  Ff  I  close  us  in  Rowe. 

59.  patens :  small  plates,  commonly  of  gold  or  silver-gilt,  used  in 
the  celebration  of  the  Eucharist.  '  Patin,' ' patine '  are  obsolete  forms 
of  the  same  word.  Furness  thinks  the  reference  is  to  broken  clouds, 
bright  in  the  moonlight ;  but  1.  60  undoubtedly  refers  to  the  stars. 

60-63.  "  The  music  of  the  spheres  "  is  an  ancient  mystery  which 
taught  that  the  heavenly  bodies  in  their  revolutions  sing  together  in 
a  concert  so  loud,  various,  and  sweet  as  to  exceed  all  proportion  to 
the  human  ear.  And  the  greatest  souls,  from  Plato  (Republic,  X)  to 
Wordsworth,  have  been  lifted  above  themselves,  with  the  idea  that 
the  universe  w^as  knit  together  by  a  principle  of  which  musical  har- 
mony is  the  aptest  and  clearest  expression.  Milton  touches  it  with 
surpassing  sweetness  in  the  morning  hymn  of  Adam  and  Eve,  Para- 
dise Losty  V,  177,  and  also  in  Arcades,  62  ff.  See  also  Coleridge's 
Remorse^  III,  i,  and  Wordsworth's  poem  On  the  Power  of  Sound, 
xii.    CL/oby  xxxviii,  7:  "The  morning  stars  sang  together." 

63.  So  in  Hooker's  Ecclesiastical  Polity^  V,  xxxviii :  "  Touching 
musical  harmony,  such  is  the  force  thereof,  and  so  pleasing  effects 
it  hath  in  that  very  part  of  man  which  is  most  divine,  that  some 
have  thereby  been  induced  to  think  that  the  soul  itself  by  nature 
is  or  hath  in  it  harmony." 


SCENE  I         THE   MERCHANT  OF  VENICE  129 

Jessica.    I  am  never  merry  when  I  hear  sweet  music. 

Lorenzo.    The  reason  is,  your  spirits  are  attentive  :       70 
For  do  but  note  a  wild  and  wanton  herd, 
Or  race  of  youthful  and  unhandled  colts, 
Fetching  mad  bounds,  bellowing  and  neighing  loud, 
Which  is  the  hot  condition  of  their  blood ; 
If  they  but  hear  perchance  a  trumpet  sound,  75 

Or  any  air  of  music  touch  their  ears, 
You  shall  perceive  them  make  a  mutual  stand. 
Their  savage  eyes  tum'd  to  a  modest  gaze. 
By  the  sweet  power  of  music  :  therefore  the  poet 
Did  feign  that  Orpheus  drew  trees,  stones,  and  floods;     80 
Since  nought  so  stockish,  hard,  and  full  of  rage. 
But  music  for  the  time  doth  change  his  nature. 
The  man  that  hath  no  music  in  himself. 
Nor  is  not  mov'd  with  concord  of  sweet  sounds, 
Is  fit  for  treasons,  stratagems,  and  spoils ;  85 

The  motions  of  his  spirit  are  dull  as  night. 
And  his  affections  dark  as  Erebus  : 
Let  no  such  man  be  trusted.    Mark  the  music. 

75.  but    hear    perchance  Q2Ff  |  80.  trees  QqFi  I  tears  F2F8F4. 

perchance  but  hear  Qi.  82.  his  QqF2  I  omitted  in  Fi. 

79.  Ovid,  Metamorphoses^  X,  xi,  tells  this  story  of  Orpheus. 

87.  Erebus :  the  darkest  and  gloomiest  region  of  Hades. 

88.  Upon  the  general  subject  of  this  splendid  strain  touching 
music  and  musical  harmony,  it  seems  but  just  to  quote  a  passage 
hardly  inferior  from  Sir  Thomas  Browne,  Religio  Medici^  II,  ix: 
"  There  is  a  music  wherever  there  is  a  harmony,  order,  or  propor- 
tion ;  and  thus  far  we  may  maintain  the  music  of  the  spheres :  for 
those  well-ordered  motions  and  regular  paces,  though  they  give 
no  sound  unto  the  ear,  yet  to  the  understanding  they  strike  a  note 
most  full  of  harmony.  Whatsoever  is  harmonically  composed 
delights  in  harmony ;  which  makes  me  much  distrust  the  symmetry 


I30        THE  NEW  HUDSON   SHAKESPEARE     act  v 

Enter  Portia  and  Nerissa 

Portia.    That  light  we  see  is  burning  in  my  hall. 
How  far  that  little  candle  throws  his  beams  !  90 

So  shines  a  good  deed  in  a  naughty  world. 

Nerissa.  When  the  moon  shone,  we  did  not  see  the  candle. 

Portia.    So  doth  the  greater  glory  dim  the  less  : 
A  substitute  shines  brightly  as  a  king, 

Until  a  king  be  by ;  and  then  his  state  95 

Empties  itself,  as  doth  an  inland  brook 
Into  the  main  of  waters.    Music  !  hark  ! 

Nerissa.    It  is  your  music,  madam,  of  the  house. 

Portia.    Nothing  is  good,  I  see,  without  respect  ; 
Methinks  it  sounds  much  sweeter  than  by  day.  100 

Nerissa.    Silence  bestows  that  virtue  on  it,  madam. 

Portia.    The  crow  doth  sing  as  sweetly  as  the  lark. 
When  neither  is  attended ;  and  I  think 

•of  those  heads  which  declaim  against  all  church-music.  For  myself, 
not  only  from  my  obedience  but  my  particular  genius  I  do  embrace 
It :  for  even  that  vulgar  and  tavern  music  which  makes  one  man 
merry,  another  mad,  strikes  in  me  a  deep  fit  of  devotion,  and  a  pro- 
found contemplation  of  the  First  Composer.  There  is  something  in 
it  of  divinity  more  than  the  ear  discovers ;  it  is  an  hieroglyphical 
and  shadowed  lesson  of  the  whole  world  and  creatures  of  God,  — 
such  a  melody  to  the  ear  as  the  whole  world,  well  understood,  would 
afford  the  understanding.  In  brief,  it  is  a  sensible  fit  of  that  har- 
mony which  intellectually  sounds  in  the  ears  of  God.  I  will  not  say, 
with  Plato,  the  soul  is  an  harmony,  but  harmonical,  and  hath  its 
nearest  sympathy  unto  music." 

99.  Nothing  is  good  unless  it  be  regarded,  heeded,  or  attended  to. 
Hence  the  music  sounds  much  better  when  there  is  nothing  to  dis- 
tract or  divert  the  attention.  This  explanation  is  justified  by  what 
Portia  says  in  the  second  speech  after. 

103.  attended :  heeded.    Furness  would  take  '  attended '  literally. 


SCENE  I         THE   MERCHANT  OF  VENICE 


131 


The  nightingale,  if  she  should  sing  by  day, 

When  every  goose  is  cackling,  would  be  thought  105 

No  better  a  musician  than  the  wren. 

How  many  things  by  season  season 'd  are 

To  their  right  praise  and  true  perfection  !  — 

Peace,  ho  !  the  moon  sleeps  with  Endymion, 

And  would  not  be  awak'd.  \_Music  ceases'] 

Lorenzo.  That  is  the  voice,  no 

Or  I  am  much  deceiv'd,  of  Portia. 

Portia.  He  knows  me,  as  the  blind  man  knows  the  cuckoo. 
By  the  bad  voice. 

I^RENZO.  Dear  lady,  welcome  home. 

Portia.  We  have  been  praying  for  our  husbands'  welfare. 
Which  speed,  we  hope,  the  better  for  our  words.  115 

Are  they  return'd  ? 

109.  ho  I  I  hoa  1  Malone  |  how            114.  husbands'      welfare    |    hus- 

QqFf.  bands  welfare  Q2Ff  |  husband  health 

112,   113.  As   in  Q2  I  printed   as       Qi  |  husbands'  healths  Pope  Camb. 
prose  Ff. 

106.  The  difference  is  in  the  hearer's  mind,  and  not  in  the  songs 
themselves;  and  the  nightingale  is  reputed  the  first  of  songsters 
because  she  sings  at  the  time  when  she  can  best  be  heard.  We 
have  a  like  thought  in  Sonnets^  cii. 

107.  A  characteristic,  if  here  somewhat  unpleasant,  jingle  in  *  sea- 
son* and  'season'd.'  The  meaning  is,  that,  by  being  rightly  timed,  the 
things  are  tempered  and  made  fit  for  their  purpose  ;  hence  relished. 

109.  Endymion  was  a  very  beautiful  youth ;  Juno  took  a  fancy 
to  him,  whereupon  Jupiter  grew  jealous,  and  cast  him  into  a  per- 
petual sleep  on  Mount  Latmos.  While  he  was  there  asleep,  Selene 
(Luna),  smitten  with  his  beauty,  used  to  come  down  and  kiss  him, 
and  lie  by  his  side.  According  to  one  version,  Selene  herself  put 
him  asleep,  that  she  might  have  the  pleasure  of  kissing  him  without 
his  knowledge.  The  story  was  naturally  a  favorite  with  the  poets, 
Lyly  and  Fletcher  among  the  dramatists  dealing  with  it,  but  young 
Keats  shaped  the  story  into  its  most  immortal  poetic  form. 


132        THE  NEW  HUDSON  SHAKESPEARE     act  v 

Lorenzo.  Madam,  they  are  not  yet ; 

But  there  is  come  a  messenger  before, 
To  signify  their  coming. 

Portia.  Go  in,  Nerissa; 

Give  order  to  my  servants  that  they  take 
No  note  at  all  of  our  being  absent  hence ;  —  120 

Nor  you,  Lorenzo  ;  —  Jessica,  nor  you.      [^  tucket  sounds'] 

Lorenzo.  Your  husband  is  at  hand  ;  I  hear  his  trumpet : 
We  are  no  tell-tales,  madam  ;  fear  you  not. 

Portia.    This  night  methinks  is  but  the  daylight  sick ; 
It  looks  a  Httle  paler  :   't  is  a  day,  125 

Such  as  the  day  is  when  the  sun  is  hid. 

Enter  Bassanio,  Antonio,  Gratiano,  and  their  followers 

Bassanio.    We  should  hold  day  with  the  Antipodes, 
If  you  would  walk  in  absence  of  the  sun. 

Portia.    Let  me  give  light,  but  let  me  not  be  light ; 
For  a  light  wife  doth  make  a  heavy  husband,  130 

And  never  be  Bassanio  so  for  me : 
But  God  sort  all !    You  are  welcome  home,  my  lord. 

Bassanio.    I  thank  you,  madam.    Give  welcome  to  my 
friend  : 
This  is  the  man,  this  is  Antonio, 
To  whom  I  am  so  infinitely  bound.  i35 

131.  so  for  me  QqFi  |  so  from  me  F2. 

121.  tucket :  a  peculiar  series  of  notes  on  a  trumpet.  Probably 
the  word  is  from  the  Italian  toccata.    Cf.  Henry  K,  IV,  ii,  35. 

127.  hold  day  with  :  have  day  at  the  same  time  as. 

129.  Twice  before  in  this  play  there  has  been  punning  upon  the 
word  *  light.'     Notice,  too,  the  graceful  play  on  'bound*  in  1.  136. 

132.  sort :  dispose.     Cf.  Richard  III^  II,  iii,  36. 


SCENE  I         THE   MERCHANT  OF  VENICE  133 

Portia.  You  should  in  all  sense  be  much  bound  to  him, 
For,  as  I  hear,  he  was  much  bound  for  you. 

Antonio.    No  more  than  I  am  well  acquitted  of. 

Portia.    Sir,  you  are  very  welcome  to  our  house  : 
It  must  appear  in  other  ways  than  words,  140 

Therefore  I  scant  this  breathing  courtesy. 

Gratiano.    [72?  Nerissa]  By  yonder  moon  I  swear  you 
do  me  wrong ; 
In  faith,  I  gave  it  to  the  judge's  clerk. 

Portia.    A  quarrel,  ho,  already!  what's  the  matter? 

Gratiano.    About  a  hoop  of  gold,  a  paltry  ring  145 

That  she  did  give  me ;  whose  poesy  was 
For  all  the  world  like  cutler's  poetry 
Upon  a  knife,  *  Love  me,  and  leave  me  not.' 

Nerissa.    What  talk  you  of  the  poesy  or  the  value? 
You  swore  to  me,  when  I  did  give  it  you,  150 

That  you  would  wear  it  till  your  hour  of  death ; 
And  that  it  should  lie  with  you  in  your  grave  : 
Though  not  for  me,  yet  for  your  vehement  oaths. 
You  should  have  been  respective,  and  have  kept  it. 
Gave  it  a  judge's  clerk  !  no,  God  's  my  judge,  155 

The  clerk  will  ne'er  wear  hair  on  's  face  that  had  it. 

146.  poesy  I  poesie  QiFf  |  posieQ2.  155-  no,  God  's  my  judge  Qq  | 

151.  your  hour  Qq  |  the  hour  Ff.         but  wel  I  know  Ff. 

141.  This  complimentary  form,  made  up  only  of  breath,  words. 

146.  poesy:  the  verse,  or  motto,  inscribed  in  a  ring.  Usually 
spelled  in  this  sense  *  posy.'  As  a  motto  ('  sentiment ')  usually  accom- 
panied a  gift  of  flowers,  *  posy  *  came  to  mean  a  nosegay. 

148.  "  Knives  were  formerly  inscribed,  by  means  of  aquafortis^  with 
short  sentences  in  distich."  —  Sir  John  Hawkins,  quoted  by  Reed. 

154.  respective  :  mindful,  considerate.  Cf.  •  respect,'  I,  i,  74.  Both 
noun  and  adjective  are  used  thus  by  Shakespeare. 


134        THE   NEW  HUDSON  SHAKESPEARE     act  v 

Gratiano.    He  will,  and  if  he  live  to  be  a  man. 

Nerissa.    Ay,  if  a  woman  live  to  be  a  man. 

Gratiano.    Now,  by  this  hand,  I  gave  it  to  a  youth, 
A  kind  of  boy;  a  little  scrubbed  boy,  i6o 

No  higher  than  thyself,  the  judge's  clerk ; 
A  prating  boy,  that  begg'd  it  as  a  fee : 
I  could  not  for  my  heart  deny  it  him. 

Portia.    You  were  to  blame,  I  must  be  plain  with  you, 
To  part  so  slightly  with  your  wife's  first  gift;  165 

A  thing  stuck  on  with  oaths  upon  your  finger, 
And  so  riveted  with  faith  unto  your  flesh. 
I  gave  my  love  a  ring,  and  made  him  swear 
Never  to  part  with  it ;  and  here  he  stands : 
I  dare  be  sworn  for  him,  he  would  not  leave  it,  170 

Nor  pluck  it  from  his  finger,  for  the  wealth 
That  the  world  masters.    Now,  in  faith,  Gratiano, 
You  give  your  wife  too  unkind  a  cause  of  grief : 
And  'twere  to  me,  I  should  be  mad  at  it.  174 

Bassanio.  [Aside]  Why,  I  were  best  to  cut  my  left  hand  off, 
And  swear  I  lost  the  ring  defending  it. 

Gratiano.    My  Lord  Bassanio  gave  his  ring  away 
Unto  the  judge  that  begg'd  it,  and  indeed 
Deserv'd  it  too ;  and  then  the  boy,  his  clerk. 
That  took  some  pains  in  writing,  he  begg'd  mine  :  180 

And  neither  man  nor  master  would  take  aught 
But  the  two  rings. 

160.  scrubbed:  stunted.  From  Anglo-Saxon  scrod,  'shrub.'  In 
Holland's  Pliny  we  have :  "  Such  will  never  prove  fair  trees,  but 
scrubs  only."  And  Verplanck  observes  that  the  name  '  scrub  oak  * 
was  from  the  first  settlement  of  America  given  to  the  dwarf  or 
bush  oak.     Warton  suggested  that  Shakespeare  wrote  'stubbed.' 


SCENE  I        THE   MERCHANT  OF  VENICE  135 

Portia.  What  ring  gave  you,  my  lord  ? 

Not  that,  I  hope,  which  you  received  of  me. 

Bassanio.    II  I  could  add  a  lie  unto  a  fault, 
I  would  deny  it ;  but  you  see  my  finger 
Hath  not  the  ring  upon  it,  —  it  is  gone. 

Portia.    Even  so  void  is  your  false  heart  of  truth. 
By  heaven,  I  will  ne'er  come  in  your  bed 
Until  I  see  the  ring. 

Nerissa.  Nor  I  in  yours 

Till  I  again  see  mine. 

Bassanio.  Sweet  Portia,  190 

If  you  did  know  to  whom  I  gave  the  ring. 
If  you  did  know  for  whom  I  gave  the  ring, 
And  would  conceive  for  what  I  gave  the  ring. 
And  how  unwillingly  I  left  the  ring, 

When  nought  would  be  accepted  but  the  ring,  i95 

You  would  abate  the  strength  of  your  displeasure. 

Portia.    If  you  had  known  the  virtue  of  the  ring, 
Or  half  her  worthiness  that  gave  the  ring. 
Or  your  own  honour  to  contain  the  ring. 
You  would  not  then  have  parted  with  the  ring.  200 

What  man  is  there  so  much  unreasonable, 
If  you  had  pleased  to  have  defended  it 
With  any  terms  of  zeal,  wanted  the  modesty 
To  urge  the  thing  held  as  a  ceremony? 
Nerissa  teaches  me  what  to  believe  :  205 

I  '11  die  for 't  but  some  woman  had  the  ring. 

199.  contain:  retain.  It  is  used  in  the  same  sense  in  Sofinets^ 
Lxxvii :  "  Look,  what  thy  memory  cannot  contain."  So  in  Bacon's 
Essays^  LVII,  Of  Anger:  "  To  containe  anger  from  mischiefe,  though 
it  take  hold  of  a  man,  there  be  two  things." 


136        THE  NEW  HUDSON   SHAKESPEARE     act  v 

Bassanio.    No,  by  mine  honour,  madam,  by  my  soul, 
No  woman  had  it,  but  a  civil  doctor. 
Which  did  refuse  three  thousand  ducats  of  me, 
And  begg'd  the  ring;  the  which  I  did  deny  him,  210 

And  suffer'd  him  to  go  displeas'd  away; 
Even  he  that  did  uphold  the  very  life 
Of  my  dear  friend.    What  should  I  say,  sweet  lady? 
I  was  enforc'd  to  send  it  after  him  : 

I  was  beset  with  shame  and  courtesy;  215 

My  honour  would  not  let  ingratitude 
So  much  besmear  it.    Pardon  me,  good  lady ; 
For,  by  these  blessed  candles  of  the  night, 
Had  you  been  there,  I  think  you  would  have  begg'd 
The  ring  of  me  to  give  the  worthy  doctor.  220 

Portia.    Let  not  that  doctor  e'er  come  near  my  house. 
Since  he  hath  got  the  jewel  that  I  lov'd, 
And  that  which  you  did  swear  to  keep  for  me, 
I  will  become  as  liberal  as  you ; 
I  '11  not  deny  him  any  thing  I  have.  225 

Bassanio.    Portia,  forgive  me  this  enforced  wrong ; 

207.  mine  F1F2  I  my  Q1Q2.  212.  did  uphold  Qi  |  had  held  up 
211.  displeas'd    away  Ff  |  away       Q2Ff. 

displeas'd  Qi.  218.  For  Qq  1  And  Ff. 

208.  civil  doctor:  Doctor  of  Civil  Law. 

215.  shame  and  courtesy:  shame  of  discourtesy.  Shakespeare 
has  several  like  expressions.  In  King  Lear,,  I,  ii,  48 :  "  This  policy 
and  reverence  of  age,"  meaning  *  This  policy,  or  custom,  of  rever- 
encing age.'  Also  in  JCmg  Lear^  I,  iv,  364  :  "  This  milky  gentleness 
and  course  of  yours " ;  that  is,  '  milky  and  gentle  course.'  And 
Hamlet,  I,  i,  87 :  "  Well  ratified  by  law  and  heraldry,"  meaning  '  the 
law  of  heraldry.' 

218.  The  "  candles  of  the  night  "  are  the  moon  and  stars.  So  in 
Romeo  and  Juliet^  III,  v,  9:  "Night's  candles  are  burnt  out." 


SCENE  I         THE   MERCHANT  OF  VENICE  137 

And,  in  the  hearing  of  these  many  friends, 
I  swear  to  thee,  even  by  thine  own  fair  eyes, 
Wherein  I  see  myself,  — 

Portia.  Mark  you  but  that !   . 

In  both  my  eyes  he  doubly  sees  himself ;  230 

In  each  eye,  one  :  —  swear  by  your  double  self. 
And  there  's  an  oath  of  credit. 

Bassanio.  Nay,  but  hear  me  : 

Pardon  this  fault,  and  by  my  soul  I  swear 
I  never  more  will  break  an  oath  with  thee. 

Antonio.    I  once  did  lend  my  body  for  his  wealth ;     235 
Which,  but  for  him  that  had  your  husband's  ring, 
Had  quite  miscarried  :  I  dare  be  bound  again. 
My  soul  upon  the  forfeit,  that  your  lord 
Will  never  more  break  faith  advisedly. 

Portia.  Then  you  shall  be  his  surety.  Give  him  this  ;  240 
And  bid  him  keep  it  better  than  the  other. 

Antonio.    Here,  Lord  Bassanio ;  swear  to  keep  this  ring. 

Bassanio.    By  heaven,  it  is  the  same  I  gave  the  doctor  ! 

Portia.  I  had  it  of  him.    You  are  all  amaz'd  : 
Here  is  a  letter ;  read  it  at  your  leisure ;  245 

It  comes  from  Padua,  from  Bellario : 
There  you  shall  find  that  Portia  was  the  doctor; 
Nerissa  there  her  clerk  :  Lorenzo  here 
Shall  witness  I  set  forth  as  soon  as  you, 

330.  my  Fi  I  mine  F2.  335.  his  wealth  Qq  I  thy  wealth  Ff. 

235.  For  his  welfare  or  his  good.  *  Wealth  '  is  only  another  form 
of  'weal' :  we  say  indifferently  'common-weal'  or  'common-wealth*; 
and  the  *  commonwealth  '  is  the  good  that  men  have  in  common. 

236.  Which.    This  refers  to  the  loan  of  Antonio's  body. 
239.  advisedly:  deliberately.     Cf.  I,  i,  142;  II,  i,  42. 


138        THE   NEW  HUDSON  SHAKESPEARE     act  v 

And  even  but  now  return 'd  ;  I  have  not  yet  250 

Enter'd  my  house.  —  Antonio,  you  are  welcome; 

And  I  have  better  news  in  store  for  you 

Than  you  expect :  unseal  this  letter  soon  ; 

There  you  shall  find  three  of  your  argosies 

Are  richly  come  to  harbour  suddenly  :  255 

You  shall  not  know  by  what  strange  accident 

I  chanced  on  this  letter. 

Antonio.  I  am  dumb. 

Bassanio.    Were  you  the  doctor,  and  I  knew  you  not? 

Antonio.  Sweet  lady,  you  have  given  me  life  and  living ; 
For  here  I  read  for  certain  that  my  ships  260 

Are  safely  come  to  road. 

Portia.  How  now,  Lorenzo  ! 

My  clerk  hath  some  good  comforts  too  for  you. 

Nerissa.    Ay,  and  I  '11  give  them  him  without  a  fee.  — 
There  do  I  give  to  you  and  Jessica, 

From  the  rich  Jew,  a  special  deed  of  gift,  265 

After  his  death,  of  all  he  dies  possess'd  of. 

Lorenzo.    Fair  ladies,  you  drop  manna  in  the  way 
Of  starved  people. 

Portia.  It  is  almost  morning. 

And  yet  I  'm  sure  you  are  not  satisfied 
Of  these  events  at  full.    Let  us  go  in  ;  270 

250.  even  but  Qq  |  but  ev'n  Ff.  270.  Let  us  Fi  |  let's  Qi. 

251.  In  this  welcome  to  Antonio  and  the  announcement  that  his 
argosies  "  with  portly  sail "  (I,  i,  9)  are  "  richly  come  to  harbour  sud- 
denly," Portia  unravels  the  last  tangle  of  the  dramatic  knot. 

255.  suddenly :  unexpectedly.  The  First  Folio  spelling  is  *  sodainlie.' 
259.  Life  and  the  means  of  living.    Portia  has  given  Antonio  life 
in  delivering  him  from  the  clutches  of  Shylock. 


SCENE  I         THE   MERCHANT  OF  VENICE  139 

And  charge  us  there  upon  inter'gatories, 
And  we  will  answer  all  things  faithfully. 

Gratiano.    Let  it  be  so  :  the  first  inter'gatory 
That  my  Nerissa  shall  be  sworn  on  is, 
Whether  till  the  next  night  she  had  rather  stay,  275 

Or  go  to  bed  now,  being  two  hours  to  day : 
Well,  while  I  live  I  '11  fear  no  other  thing 
So  sore  as  keeping  safe  Nerissa's  ring.  [^jEx^unf] 

271.  **  In  the  Court  of  Queen's  Bench,  when  a  complaint  is  made 
against  a  person  for  a  *  contempt,'  the  practice  is  that,  before  sen- 
tence is  finally  pronounced,  he  is  sent  into  the  Crown  Office,  and, 
being  there  *  charged  upon  interrogatories,*  he  is  made  to  swear 
that  he  will  *  answer  all  things  faithfully.'  "  —  Lord  Campbell. 


INDEX 


This  Index  includes  the  most  important  words,  phrases,  etc.,  explained  in 
the  notes.  The  figures  in  heavy-faced  type  refer  to  the  pages;  those  in  plain 
type,  to  the  lines  containing  what  is  explained. 


a  (he):  39  49. 

abode:  64  21. 

addressed :  64  18. 

advice:  123  6. 

advis'd:  34  42. 

advisedly:  137  239. 

JEson:  125  14. 

alack:  47  16. 

alas  the  while:  34  31. 

Alcides:  34  35,  77  55. 

aleven:  44  149. 

amity  and  life :  75  30. 

and  (if):  19  80,  48  lo. 

Andrew:  5  27. 

angel  (coin) :  59  56. 

answers  for  deliver- 
ance: 76  38. 

appropriation:  16  38. 

argosies:  3  9. 

as  who  should  say:  9 
93. 

attempt:  121  416. 

attended:  130  103. 

attribute  to  awe  and 
majesty:  110  186. 

bag-pipe:  104  55. 

balance:  113  250. 

ban'd:  103  46. 

Barrabas:  115  291. 

bate:  105  71. 

bated:  93  32. 

beholding:  27  97. 

beshrew:  56  52. 

be'st:  58  26. 


better  the  instruction : 

72  63. 
between   you    and    I: 

90  313. 
Black-Monday:  51  24. 
bless  the  mark:  36  20. 
blood:  14  16. 
bonnet:  18  67. 
bottom:  6  42. 
bound:  133  136. 
break  his  day:  30  155. 
break  up :  48  lo. 
breath:  67  89. 
breathing  courtesy: 

133  141. 
breed:  26  88,29  126. 
brief  and  plain  conven- 

iency:  105  81. 
burghers:  3  lO. 
bumish'd :  32  2. 
by:  16  48,  64  25. 
by  my  hood:  55  51. 
came  by  it :  3  3. 
candles  of  the  night: 

136  218. 
carrion  Death:  60  63. 
cater-cousins:  42  120. 
Charybdis:  97  15. 
cheer :  90  307. 
cheer'st:  99  56. 
childhood  proof:  12  144. 
circumstance:  12  154. 
civil  doctor:  136  208. 
civility:  46  181. 
141 


colt:  15  37. 

come  by:  3  3,  14  8. 

come  to  heaven:  100 
64. 

commandment:  122446. 

commends:  67  89. 

commodity:  13  178,92 
27. 

complexion:  70  26. 

conceit:  9  92. 

confusions :  37  33. 

contain:  135  199. 

continent:  82  130. 

conveniency:  105  81. 

cope:  120  407. 

could  not  do  withal: 
96  72. 

counterfeit:  81  115. 

cover:  65  43,  98  39. 

Cressida  (Cressid): 
124  6. 

cursed*st:  35  46. 

curtsy:  4  13. 

danger:  110  175. 

Daniel:  112  218. 

death  of  a  third  hus- 
band: 69  10. 

defy  the  matter :  99  56. 

desire  your  Grace  of 
pardon:  120  397. 

disabling:  58  30. 

dish  of  doves:  42  124. 

docks :  6  27. 

doit:  29  132. 


142        THE   NEW  HUDSON   SHAKESPEARE 


double  comparatives 
and  superlatives: 
113  246. 

double  negatives:  16 

24,  34  43. 
doublet:  18  66. 
dowry    of    a     second 

head:  80  95. 
dram:  101  G. 
dumb-show:  17  65. 
eaning  time:  26  79. 
eanlings:  26  75. 
edge:  44  151. 
ellipsis  of  superlative 

inflection:  35  46,  89 

288. 
Endymion:  131  109. 
enow:  98  20. 
envy:  101  lo. 
Erebus:  129  87. 
ergo:  39  52. 
-est  (=  -St)  in  super- 
latives: 88  246. 
ethical  dative:  26  77, 

48  5. 
exceeding  strange:  7  67. 
exchange:  56  35. 
exclaim  on:  84  174. 
excrement:  79  87. 
exhibit:  47  10. 
expect:  127  49. 
eye  of  honour:  11  137. 
faithless :  49  37. 
fancy:  77  63. 
father:  39  67. 
fawning  publican:   23 

37. 
fear:  97  3. 
fear  (doubt):  76  29. 
fearful  guard:  30  167. 
fee  an  officer:  74  no. 
feed  upon  the  prodigal 

Christian:  60  14. 
fill-horse:  40  87. 
flight  (arrow):  11  141. 
fond :  91  9. 


fools:  9  99. 

for  the  heavens :  36  lO. 

for  the  state:  118  368. 

force  and  road  of  cas- 
ualty: 64  29. 

forth:  4  15,  12  143. 

four  strangers:  21 114. 

freely:  88  244. 

frutify:  42  123. 

full  stop:  70  14. 

gaberdine:  28  104. 

gag'd:  11  130. 

gaping  pig:  103  47. 

gear:  10  no. 

Gentile:  65  51. 

gentle:  103  34. 

gentleman  (dat.) :  93  6. 

give  me  your  blessing : 
40  72. 

gondola:  61  8. 

goodly:  27  94. 

Goodwin  Sands:  69  4. 

gramercy:  41  in. 

gratify:  120  401. 

ground:  41  102. 

guarded:  43  143. 

gudgeon:  9  102. 

habit:  46  176. 

harmony:  128  63. 

hat:  46  180. 

having:  19  91. 

head:  66  vo. 

hear  thee:  46  166. 

heart:  114  276. 

heels:  35  8. 

Heraclitus:  16  43. 

Hercules:  34  32,77  57. 

Hesione:  77  57. 

high-day:  68  97. 

hindered  me  half  a  mil- 
lion: 71  47. 

his  (its):  11  141. 

hold  day  with :  1 32  127. 

holy  crosses:  126  31. 

horn:  127  39. 

hose:  18  67. 


humbleness  may  drive: 

118  367. 
humility  :  7 1  60. 
humour:  103  4:^. 
husbandry :  94  25. 
Hyrcanian:  69  41. 
I  am  to  learn :  3  5. 
I  pray  God  grant:  20 

101. 
I  wis:  66  67. 
imagin'd  speed :  96  52. 
impeach  the  freedom : 

89  273. 
imposition :  1 9  95. 
in  use:  119  378. 
incarnal :  37  24. 
Indian  beauty:   80  99. 
inexecrable:  107  127. 
infection:  42  115. 
infinitive  used  gerun- 

dively :  11  126. 
intent  and  purpose: 

113  242. 
interest:  26  86. 
inter'gatories:  139  271. 
intermission :  86  199. 
Jacks  :  96  77. 
Jacob's  staff:  62  35. 
Janus :  6  50. 
Jason:  87  236,  126  13. 
Jewess*  eye:  62  42. 
jump  with:  66  31. 
kept :  92  19. 
knapp'd:  69  9. 
knife:  133  148. 
lastly:  64  14. 
let  his  lack  of  years: 

109  158. 
let  me  have  judgment : 

106  82. 
level  at :  1 5  35, 
Lichas :  34  32. 
life  and  living :  1 3  8  259. 
light:    66   42,    80  91, 

132  129. 
likes  or  loathes:  10451. 


INDEX 


143 


line  of  life :  44  148. 
livers  white  as  milk: 

79  86. 
living:  138  259. 
lord:  84  167. 
Lorenzo:  127  41. 
lover:  93  7. 
main  flood:  106  71. 
manage :  94  25. 
mark:  36  20. 
marriage:  64  13. 
marry :  38  37. 
master :  38  46. 
masters  of  passion: 

104  50. 
may :  22  7. 
me(eth.  dat.):  26  77. 
mean  happiness :  14  6. 
mean  it:  100  63. 
Medea:  125  13. 
Midas :  81  102. 
mightiest  in  the  might- 
iest:  110  183. 
mind  of  love :  62  42. 
mistress  .  .  .  maid:  85 

198. 
moe :  10  1O8. 
moiety:  102  26. 
more  elder :  1 1 3  246. 
mortifying :  8  82. 
music:  129  88. 
music  of  the  spheres  : 

128  60-63. 
narrow  seas :  69  3. 
naughty :  91  9. 
Nazarite :  23  31. 
Nestor :  7  56. 
new-crowned  monarch : 

77  50. 
new-vamish'd :  65  48. 
nightingale  .  .  .  wren: 

131  104,  106. 
nominative   absolute: 

108  133. 
nor  .  .  .  not:  34  43. 
note:  82  140. 


nothing    undervalued : 
13  165. 

office  of  discovery:  55 
43. 

old:  123  15. 

old  proverb :  43  137. 

omission  of  the  prepo- 
sition: 63  9. 

on:  113  237. 

opinion:  8  91. 

Orpheus:  129  80. 

other :  6  54. 

pageants:  4  11. 

paleness:  81  106. 

paper  it  writ:  48  13. 

part :  60  77. 

patch :  52  45. 

patens:  128  59. 

pause:  117  330. 

pawn'd:  100  68. 

peize :  75  22. 

pied:  26  75. 

play  the  fool :  8  79. 

plural  in    -s :    30  153, 
104  50. 

poesy  (posy):  133  146. 

possess'd:  2560, 10335. 

postman's  horn:  12739. 

predicament :  1 1 7  352. 

prefer:  43  134. 

presence :  77  54. 

presently:  119  382. 

prest:  12  160. 

prevented :  7  61. 

proper:  17  64. 

prove  it  so :  75  20. 

provided  of :  49  23. 

publican :  23  37. 

purchased     by    the 
weight:  79  89. 

puts:  75  19. 

Pyramus:  124  7. 

Pythagoras :  107  130. 

quaintly :  48  6. 

quality  of  mercy:  110 
179. 


quarrelling  with  occa- 
sion :  99  43. 
question:  109  167. 
question  with  the  Jew : 

106  69. 
quicken  his  embraced 

heaviness:  63  52. 
quit:  118  376. 
rack:  76  32. 
rage:  34  35. 
raise  the  waters :  38  44. 
reasoned :  62  27. 
reasoning:  15  19. 
red  blood :  32  7. 
red  wine  and  Rhenish : 

70  35. 
regreets  :  67  88. 
remorse:  102  20. 
reply,  reply:  78  66. 
reproach:  51  20. 
respect:  130  99. 
respective:  133  154. 
rest  you  fair :  25  55. 
Rialto :  22  18,  27  99. 
rib  her  cerecloth:    59 

51. 
road   of  casualty:   64 

29. 
royal  merchant :  87  234, 

102  29. 
sad  ostent :  46  182. 
Salerio:  86  214. 
sand-blind :  37  32. 
saving  your  reverence : 

37  22. 
scarfed :  54  15. 
scrubbed:  134  160. 
Scylla:  97  14. 
seal'd  under:  18  74. 
season:  131  107. 
sensible  regreets:    67 

88. 
set  up  my  rest :  41  96. 
Scottish:  18  69. 
shame   and   courtesy: 

136  215. 


144 


THE   NEW   HUDSON   SHAKESPEARE 


should:  17  55. 
shrewd :  87  238. 
shrine :  68  40. 
Sibylla :  20  97. 
signiors:  3  10. 
silver'd  o'er:  66  68. 
Sir  Oracle :  9  93. 
slubber:  62  39. 
smug:  71  39. 
Solyman:  33  26. 
something  grow  to: 

36  15. 
sometimes:  13  163. 
sonties :  38  40. 
soon:  47  5. 
sooth :  3  1. 
Sophy:  33  25. 
sort:   19  95,  132  132. 
speak  me  fair:  114270. 
sphere-music:  128  60. 
stairs:  79  84. 
Stephano:  126  28. 
still :  4  17. 

still  her  use:  114  263. 
stomach :  100  73. 
strange :  7  67. 
suddenly:  138  255. 
Sultan   Solyman  :    33 

26. 
superfluity:  14  7. 
supposed  fairness :  80 

94. 
swan-like  end:  76  44. 
sways:  104  50. 
table:  43  146. 
teaches:  30  153. 
temple :  36  44. 
ten  more:  120  394. 


ten  times  undervalued : 

69  53. 
tenour:  112  230. 
term  in  gross  :  83  158. 
that:  1019. 
that  same  prayer :  1 1 1 

196. 
the  which:  22  4. 
third  possessor :  26  70. 
Thisbe:  124  7. 
thou:  40  85. 
throstle :  1 7  54. 
timber:  60  69. 
to:  11  126,  17  59,  108 

139. 
to-night:  60  18. 
tranect:  96  53. 
Troilus :  124  4. 
truth:  112  209. 
try  confusions :   37  33. 
tucket:  132  121. 
turquoise :  73  106. 
twice   the  sum:    111 

205. 
undervalued:  13  165. 
unfurnish'd:  82  126. 
unpleasant'st :  88  246. 
unwearied:  89  288. 
upon  the  hip  :  24  42. 
us  (eth.  dat.) :  48  5. 
usance:  24  41. 
use:  119  378. 
vailing:  6  28. 
vantage:  84  174. 
vamish'd  faces  :  6 1  32. 
venture:  4  15. 
Venus'  pigeons:  63  5. 
via:  36  9. 


virgin:  68  22. 
virgin  tribute:  77  56. 
waft:  126  ii. 
wealth:   137  235. 
weeping  philosopher : 

16  43. 
welcome:  138  251. 
well:  22  1. 
well  to  live:  38  48. 
what:   101  1. 
what  it  likes  or  loathes : 

104  51. 
what  would  my  lord: 

67  84. 
which:  137  236. 
which  (who) :  1 1 6  278. 
who,  hang'd:  108  133. 
who  (which):  67  4. 
who   if  he  break:   29 

128. 
whose:  109  160. 
wilful:  12  146. 
will:  16  22. 
willow:  126  lO. 
wish    none   from   me: 

86  191. 
wit:  33  18. 
withal:     70    24,    120 

407. 
within  his  danger :  110 

175. 

woollen  bag-pipe :  104 

55. 
wry-neck'd    fife:     61 

29. 
ye:  26  61. 
you    were    best:     62 

33. 


'   ''    U  DAY  USE 

RETURN  TO  DESK  FROM  WHICH  BORROWED 

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-V 

•-  '  •  v*  9  -"  r 

^  i^  J 

JUL  i,      1960 

^«|    \-L^ 

JL'Ll  3RECD 

LD  21-50m-6,'59 
(A2845sl0)476 

General  Library 

Uoivertity  of  California 

Berkeley 

rb  J  iiJZb 


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.T4IVERSITY  OF  CALIFORNIA  LIBRARY 


